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Film Unit

English 1-2 Curriculum Guide

Version 1.0: September 2009



Table of Contents: Film Unit

Activity Page #

Introduction to Unit 3

Unit Template with Learning lan 4

Student rogress !onitoring 7

"cademic Vocabular#

re$assessment 1!

%ilm 101 12

&or'ing with %ilm Terminolog# art (ne 14

"pplication o) %ilm Terminolog# 1

&or'ing with %ilm Terminolog# art Two 2!

Edward Scissorhands:

re*iewing and Viewing +a#s "$+

24

Stor#board rediction "cti*it# 33

Crooklyn:

re*iewing and Viewing +a#s 1$,

44

&riting topic and thesis statements: Crooklyn "4

-ulminating "ssessment: &riting a %ilm ssa# "7

+i))erentiation 71

/esources 72

2



Introduction

There is a reason wh# I lo*e to teach )ilm to #oung people that I rarel# tell m#

students about. &hat I ha*e )ound is that when students wor' with mo*ies and learn howto anal#e them their anal#tical abilities )or all tets including print tets seem toimpro*e. There is a genuine trans)er o) s'ills between )ilm and other tets. (nce students

can discuss sa# theme tone con)lict s#mbol and )oreshadowing with )ilm the# can

readil# appl# these abilities to short stories no*els essa#s etc. So in a sense I tric'them into some reall# good anal#tical s'ills b# wor'ing )irst with what the# en3o# and

then trans)erring those s'ills to other tets we need them to be able to anal#e criticall#.

4ut this means that when we teach )ilm we need to do so acti*el#. 5ust as we donot as' students to read all o) The Great Gatsby and epect them to be able to tell us

about all the important themes we cannot simpl# show a )ilm in its entiret# and epect

students to discern the )ilm6s messages. &e ha*e to prepare our students )or the tet weneed to stop and discuss the )ilm at *arious times and we ha*e to gi*e them the

opportunit# to ha*e them write and re)lect on it a)terwards. &e need to as' our students

)or eample to anal#e the )ilms criticall# b# eamining the cinematic and theatrical

elements that directors use )or particular e))ects.

7ids o)ten complain that a)ter learning to *iew )ilms criticall# that ha*e lost their

en3o#ment o) )ilm )ore*er because as the# watch mo*ies now the# are alwa#s

unconsciousl# anal#ing them. I tell them that 3ust as #our en3o#ment o) watching)ootball increases when #ou understand what ,th down and 20 to go means so too is it

with )ilm. Thin'ing about writing about and discussing )ilms can be 3ust as )un as

watching them. &hen #ou become aware o) all the elements that go into a )ilm #ourle*el o) en3o#ment onl# increases. %ilms matter to us because the# ha*e become such a

large part o) the world around us8 it onl# ma'es sense to tr# to understand them as much

as possible.

5ohn olden

T(S"$/ice

3goldenpps.'12.or.us

3

mailto:[email protected]

mailto:[email protected]



Film Unit Template

tage 1$ %esired &utc'mes

Pri'rity tandards$(!) In)er an author6s unstated ideas anal#ing e*idence that supports those unstated ideas and

ma'e reasonable generaliations about tet.

(!7( "nal#e characteriation.

(!*( +escribe the )unction and e))ect upon a literar# wor' o) common literar# de*ices

(11( +e*elop a thesis pro*iding connections and insights.

(11( ro*ide details;eamples to support ideas de*eloped into separate paragraphs.

(13. Support interpretations o) literature through the use o) tetual re)erences

(1*( !a'e in)ormed 3udgments about tele*ision radio and )ilm productions.

Understandings$

tudents +ill understand that,

• %ilm directors use cinematic elements to

create e))ect speci)icall# theme and tone.

• -haracteriation is de*eloped through

dialogue actions and costume choices

• -hallenges we )ace as we <come o) age=

ha*e similarities across time and culture.

Essential uesti'ns$

• >ow does )ilm present its stories similarl#

and di))erentl# )rom print tets?

• &hat does it )eel li'e to be an outsider?

&hat are the )actors that cause this?

• &hat are the steps adolescents need to ta'e

as the# assume more adult responsibilities?

Students will know:

• The de)initions o) the main cinematic

elements: )raming lighting sound anglesand editing.

• The aspects o) characteriation

• The de)inition o) theme and tone

Students will be able to:

• plain how the director6s choices o)

cinematic elements a))ect theme and tone• &rite a e))ecti*e topic and thesis

statements about theme and tone

• ro*ide e*idence to support thesis and

topic sentences

tage 2$ Assessment Evidence

Culminating Assessment

(learning task)

&ther Evidence

Students will write an anal#tical essa# with

an e))ecti*e introduction a clear thesis bod# paragraphs with strong topic

sentences and supporting eamples and an

e))ecti*e conclusion about how the director o) one o) the )ilms watched in class creates

the theme or tone through the choices o)

1. +ail# note ta'ing on each )ilm

*iewed.

2. Topic sentences and short paragraphs.

@. >ome base group discussions

,. (ptional stor#board acti*it#

4



cinematic elements.

tage 3$ .earning Plan

Activity /itle Pri'rity tandards Page

Pre-Assessment (!*( +escribe the )unction and e))ect upon a literar# wor' o) common literar# de*ices


(11( ro*ide details;eamples to support ideas de*eloped

into separate paragraphs.

(13. Support interpretations o) literature through the use o)

tetual re)erences

1!

Film 1!1 (!*( +escribe the )unction and e))ect upon a literar# wor' o)

common literar# de*ices

(1*( !a'e in)ormed 3udgments about tele*ision radio and

)ilm productions.

12

0'ring +ith Film

/ermin'l'gy Part

&ne

(!) In)er an author6s unstated ideas anal#ing e*idence that

supports those unstated ideas and ma'e reasonable

generaliations about tet.

(13. Support interpretations o) literature through the use o)tetual re)erences

14

Alicati'n ' Film

/ermin'l'gy


)ilm productions.1

0'ring +ith Film

/ermin'l'gy Part

/+'




(13. Support interpretations o) literature through the use o)tetual re)erences

2!

Edward

Scissorhands$

Previe+ing and

ie+ing %ays A-%


supports those unstated ideas and ma'e reasonablegeneraliations about tet.

(!7( "nal#e characteriation.

(!*( +escribe the )unction and e))ect upon a literar# wor' o)




into separate paragraphs.(13. Support interpretations o) literature through the use o)

tetual re)erences


)ilm productions.

24

t'ry5'ard

Predicti'n




33

5



Activity /itle Pri'rity tandards Page

6ater %ay 8

Crooklyn$

Previe+ing and

ie+ing %ays A-%

(!) In)er an author6s unstated ideas anal#ing e*idence thatsupports those unstated ideas and ma'e reasonable

generaliations about tet.(!7( "nal#e characteriation.







tetual re)erences


)ilm productions.

44

0riting t'ic

and thesis

statements$

Crooklyn



tetual re)erences

"4

Culminating

Assessment$

0riting an

Analytical Essay






(11( +e*elop a thesis pro*iding connections and insights.(11( ro*ide details;eamples to support ideas de*eloped



tetual re)erences

"7

6



tudent Pr'gress 9'nit'ring: Film Unit

Student (!) In)er an author6s

unstated ideas

anal#ing e*idence

that supports those

unstated ideas andma'e reasonable

generaliations about

tet.

(!*( +escribe the

)unction and e))ect upon

a literar# wor' o)


(11( +e*elop a thesis

pro*iding connections

and insights.

(13. Support

interpretations o)

literature through the

use o) tetual re)erences

! + n;e ! + n;e ! + n;e ! + n;e ! + n;e

7



Student (!) In)er an author6s

unstated ideas

anal#ing e*idence

that supports those

unstated ideas and

ma'e reasonable

generaliations about

tet.

(!*( +escribe the

)unction and e))ect upon

a literar# wor' o)


(11( +e*elop a thesis

pro*iding connections

and insights.

(13. Support

interpretations o)

literature through the

use o) tetual re)erences

! + n;e ! + n;e ! + n;e ! + n;e ! + n;e

8



Academic ocabular!

The *ocabular# used etensi*el# in this unit:

"nal#sis

-haracteriation

-inematic elements

))ect

Setting

Supporting eamples

Theatrical elements

Theme

Thesis statement

Tone

Topic sentences

"



Pre-assessment 'r Film Unit

/ime$ one class period

&5:ective$ to determine students6 prior 'nowledge o) the e))ects o) cinematic choices and

to determine how e))ecti*el# students can write about a )ilmma'er6s cinematic choices.9aterials$ a short A@$B minutesC )ilm clip that includes a *ariet# o) cinematic elements

with a clearl# identi)iable theme or tone. It is best i) #ou select a )ilm that most studentsha*e not alread# seen. Suggested clips might be:

• (thello A(rson &elles 19B0. 1.1B.0@$1.1D.0EC

• Forth b# Forthwest A"l)red >itchcoc' 19BD. 1.0B.,9$1.1B.10C

• hiladelphia A5onathon +emme 199@. 0.22.11$0.29.@BC.

• "pocal#pse Fow A%rancis %ord -oppola 19E9. 0$0.0E.2EC /ated </= lease be

aware that there is one curse word and a scene o) a man drin'ing alcohol

rec'lessl#.• -itien 7ane A(rson &elles 19,1. 0$0.02.,9C

• The -olor urple ASte*en Spielberg 19DB. 0.19.,1$0.22.,DC

tes$

1. >a*e students ta'e out two blan' pieces o) paper8 the# should label one as

<Fotes= and the second as </esponse.=

2. la# the clip one time gi*ing students onl# enough bac'ground o) the )ilm so thatthe# can understand the contet o) the clip. +irect them to watch care)ull# but not

to write an#thing on their papers.@. la# the clip a second time this time as' them to ta'e notes on <whate*er the

director is doing to create meaning or to create a )eeling.= Gou should promptthem to consider aspects such as music lighting and what the camera does or

shows.

,. Fet as' them to ta'e their second sheet o) paper and to respond to the )ollowing

prompt: <&hat e))ect is the director o) the )ilm tr#ing to achie*e or create with inthis clip? >ow does he or she achie*e or create this e))ect?= +irect them to write a

topic sentence and to include support )or that topic sentence.

B. &hen #ou assess their responses consider two separate topics: how well the# caninterpret the )ilm and how well the# can write about it. Use the guide on the net

page and be sure that students ha*e an opportunit# to re)lect )or themsel*es onhow well the# did. "lso a)ter students ha*e been eposed to and ha*e had an

opportunit# to practice with the )ilm terminolog# #ou might want to return to this pre$assessment b# re$*iewing the clip and as'ing students to re*ise their

responses.

#$



c'ring Guide 'r Film Unit Pre-Assessment

Pri'rity

tandard

"-) 4-3 2-1

(!*( +escribethe )unction and

e))ect upon a

literar# wor' o)

common literar#

de*ices

!a'es aneceptionall# clearconnection between

the cinematic choices

the director ma'esand the intended

e))ect toward theme

characteriation toneor other literar#

element.

Identi)ies that thedirector is ma'ingspeci)ic choices )or

particular e))ects but

the connection is not)ull# clear. " literar#

element such as

theme or tone ma# beidenti)ied but the

)unction and e))ect o)

the choices is not

clear.

"t this point theresponse is mainl# asummar# o) the

action or the plot o)

the )ilm. There is nota connection #et

between the choices

the director ma'esand the intended

e))ect.

(11( +e*elop a

thesis pro*iding

connections and

insights.

The topic sentence is

a clear and insight)ul

connection betweenthe choices and the

e))ects. It relates

directl# to theresponse that

)ollows.

There is a clear

understanding o) the

purpose o) a topicsentence e*en i) the

eecution o) the

sentence is not )ull#success)ul because o)

a lac' o) connection

or a lac' o) clarit#.

ither there is no

topic sentence or the

sentence at this pointdoes not ma'e a

pro*able statement.

(13. Supportinterpretations o)

literature through

the use o) tetual

re)erences

*en in this shortresponse there are

se*eral e))ecti*eeamples o))ered to

support the topic

sentence. The

eamples are )ull#eplained.

The responseincludes appropriate

i) somewhat limitedeamples )rom the

)ilm clip. The

eamples ma# not be

)ull# eplained atthis point.

"t this point theresponse does not

include an# speci)iceamples )rom the

)ilm clip to support

the topic sentence.

##



Film 1!1 Activity

%aterials Samples of lm reviews

&urpose To discover students’ interests in lms

To explore, critique, and evaluate students’ choice of a lm

To compose a letter with a clear purpose and audience

'teps

#( Ask students to ll out the Film 'ur)e!. When the survey is completed, leadstudents throuh a whole!class discussion, solicitin their responses from the surve

2( Ask students to share their lists of the top ve "est lms ever made and discuss thrationale "ehind their choices. Then roup students and direct them to compile onlist of the top ve lms that will represent the roup.

3( As part of an anticipatory set* students will enae in a focused discussion todetermine whether they aree or disaree with each roup’s top!ve list. #achroup will read its list "einnin with num"er ve and endin with num"er one. $fthe ma%ority of students aree with the selections then you can proceed. $f not, asstudents to defend their choices orally and allow a rich discussion &mini+debate' toccur.

4( After students participate in a healthy discussion, they should have a wide variety lms to choose from for the next activity. Students will "e asked to nd a moviereview for a lm of their choice. This review can come from a newspaper, amaa(ine, or an $nternet source such as www.)rqe.com. $t would "e helpful to "rinin sample reviews of lms with which students are familiar. *iscuss the di+erence"etween a review and an advertisement or synopsis.

5( Allow students to read several reviews in class. Then, select one review to readclosely. T,in- aloud with students as you consider and react to the reviewer’scomments. $dentify the reviewer’s opinions and discuss whether the class arees odisarees with them. As a class, allow students to "rainstorm possi"le commentsthey would make if they could send a letter to the reviewer. Ask them to considerareas of areement or disareement and the reasons for their opinions.

6( Ask students to nd a movie review for a lm of their choice. Students should readand make meanin from the lm review and respond to the review in the context oa letter. Their assinment is to write a letter to the critic and critique the analysis.Ask students to consider whether they aree or disaree with the review and provirationale for their opinions. $f necessary, review the components of a "usiness lett&salutation, reetin, "ody, and conclusion'. $f possi"le, students may mail theirletters to the lm reviewer.

#2



Film 1!1

urvey

#( Approximately how many movies do you watch a month &on ** or -a"leor in a theater'

2( What are your favorite types of movie #xplain.

3( What are your least favorite types of movie #xplain.

4( /ank the top ve "est lms ever made, in your opinion.

5( What kind of movies do your parents or uardians like to watch 0owoften do you watch movies with them

6( What are the di+erences "etween watchin a movie at home andwatchin in a theater

7( What kind of movies do you watch in school

#3



8( What are you normally asked "y the teacher to do while or after watchina movie in school

#4



0'ring +ith Film /ermin'l'gy Part 1

%aterials 1 2 33 -onstruction paper

33 2 44 -onstruction paper

)aa(ines and lue sticks

&urpose To ive students the lanuae and condence to talk a"out lm

To introduce students to lm terminoloy in context

To identify and create a product that conveys an understandin lm concepts

'teps

#( Students will "e exposed to a wide array of lm terms that will ena"le them to

analy(e lm. $n an e+ort to understand how a camera works, they will manipulate paper camera to ain a kinesthetic context of the lm terms.

2( $nstruct students to roll a sheet of construction paper into a tu"e and hold it up totheir eye like a telescope. After students have completed this task, expose studento the lm terminoloy and ask them to manipulate the paper camera as if it were real camera. 5or example, ask a volunteer to stand in front of the class to "e thesu"%ect of students’ frame.

To et a lon shot, students will have to unroll the paes to create a lare lenin order to et a shot of the student’s full "ody. Ask them what this shot ena"lesthe viewer to see.

6ext, ask students to decrease the si(e of the lens on the paper camera to ea medium shot &from the waist up'. Ask students to consider why a director michoose to use this shot. 5urther, what does this shot unveil to the viewer

6ext, ask students to decrease the si(e of the lens of the camera to et a cloup shot &capturin only the face'. Ask students to consider why a director mihtuse this shot.

5inally, ask students to roll their paper camera tihter in an e+ort to (oom intan extreme close up &focusin on one specic aspect, for example, an eye or eaAain, ask students why a director miht choose this shot.

The paper camera can "e ad%usted to resem"le many di+erent shots, anles,and camera movements. 5or example, a pan may "e demonstrated "y turninyour head from left to riht, and a low anle may "e demonstrated "y sittin onthe 7oor and 8lmin9 a clock up on the wall.

There are many other movements that you could direct students to do to ivthem a conceptual understandin of how to apply these lm terms. As you expostudents to many of these terms, ask them why these shots, anles, andmovements miht "e used. #nae students in a discussion a"out the similaritie"etween an author’s purpose and a director’s choices.

#5



#6




6c'ntinued8

3( After students have had an opportunity to practice the lm terms, direct them to thlm terminoloy student pae and lead them throuh a discussion a"out thedi+erent terms. :rovide students with a "rief explanation of why and how directorsuse many of these shots, anles, and camera movements. #na"le students to mart,e te.t and take notes in the marin as you expose them to the lm terminoloy.

4( 6ext, ask students to search throuh old maa(ines on a scavener hunt to ndexamples that demonstrate their understandin of di+erent shots and;or lihtin.Students should create a collae of pictures that are sectioned o+ and clearlyla"eled for the viewer. $f students have access to real video cameras, they cancreate a lm terminoloy video presentation that identies and displays an array olm terms in application.

#7



Film /ermin'l'gy

',ots and Framin/

',ot: a sinle piece of lm uninterrupted "y cuts.

0stablis,in/ ',ot: often a lon shot or a series of shots that sets thescene. $t is used to esta"lish settin and to show transitions "etweenlocations.

1on/ ',ot 1': a shot from some distance. $f lmin a person, the full"ody is shown. $t may show the isolation or vulnera"ility of the character&also called a 5ull Shot'.

%edium ',ot %': the most common shot. The camera seems to "e amedium distance from the o"%ect "ein lmed. A medium shot shows theperson from the waist up. The e+ect is to round the story.

Close Up CU: the imae "ein shot takes up at least 1< percent of the

frame.

0.treme Close Up: the imae "ein shot is a part of a whole, such as aneye or a hand.

To ',ot: a scene "etween two people shot exclusively from an anle thatincludes "oth characters more or less equally. $t is used in love scenes whereinteraction "etween the two characters is important.

Camera An/les

0!e 1e)el: a shot taken from a normal heiht= that is, the character’s eye

level. 6inety to ninety!ve percent of the shots seen are eye level, "ecause itis the most natural anle.

i/, An/le: the camera is a"ove the su"%ect. This usually has the e+ect ofmakin the su"%ect look smaller than normal, ivin him or her theappearance of "ein weak, powerless, and trapped.

1o An/le: the camera lms su"%ect from "elow. This usually has the e+ectof makin the su"%ect look larer than normal, and therefore stron, powerful,and threatenin.

Camera %o)ements

&an: a stationary camera moves from side to side on a hori(ontal axis.

Tilt: a stationary camera moves up or down alon a vertical axis

oom: a stationary camera where the lens moves to make an o"%ect seemto move closer to or further away from the camera. With this technique,movin into a character is often a personal or revealin movement, whilemovin away distances or separates the audience from the character.

#8



oll!Trac-in/: the camera is on a track that allows it to move with theaction. The term also refers to any camera mounted on a car, truck, orhelicopter.

9oomCrane: the camera is on a crane over the action. This is used tocreate overhead shots.

1i/,tin/

i/, e!: the scene is 7ooded with liht, creatin a "riht and open!lookinscene.

1o e!: the scene is 7ooded with shadows and darkness, creatinsuspense or suspicion.

9ottom or 'ide 1i/,tin/: direct lihtin from "elow or the side, which oftenmakes the su"%ect appear danerous or evil.

Front or 9ac- 1i/,tin/: soft lihtin on the actor’s face or from "ehindives the appearance of innocence or oodness, or a halo e+ect.

0ditin/ Tec,ni;ues

Cut: most common editin technique. Two pieces of lm are spliced toetherto 8cut9 to another imae.

Fade: can "e to or from "lack or white. A fade can "ein in darkness andradually assume full "rihtness &fade!in' or the imae may radually etdarker &fade!out'. A fade often implies that time has passed or may sinifythe end of a scene.

issol)e: a kind of fade in which one imae is slowly replaced "y another. $tcan create a connection "etween imaes.

<ipe: a new imae wipes o+ the previous imae. A wipe is more 7uid thana cut and quicker than a dissolve.

Flas,bac-: cut or dissolve to action that happened in the past.

',ot+=e)erse+',ot: a shot of one su"%ect, then another, then "ack to therst. $t is often used for conversation or reaction shots.

Cross Cuttin/: cut into action that is happenin simultaneously. Thistechnique is also called parallel editin. $t can create tension or suspenseand can form a connection "etween scenes.

0!e+1ine %atc,: cut to an o"%ect, then to a person. This technique showswhat a person seems to "e lookin at and can reveal a character’s thouhts.

'ound

ie/etic: sound that could loically "e heard "y the characters in the lm.

>on+ie/etic: sound that cannot "e heard "y the characters "ut isdesined for audience reaction only. An example miht "e ominous music forforeshadowin.

#"



'tor!boards

These are a series of drawins > or photoraphs > that a director creates"efore the movie is lmed to help the director to visuali(e what will appearlater on screen. ?ften, lihtin, dialoue, framin, and other elements of theshot will "e noted as well. These individual drawins or photoraphs are then

arraned in sequence to create a nal story"oard. @ater in this unit you will"e asked to create your own story"oard.

2$



>otes About ',ots

The followin information is desined to assist the teacher and provide"ackround information for the teacher "efore he or she presents theterminoloy lesson with students.

We have seen how the point+of+)ie shot works to put the spectator literallyin the very place of the character and thus to secure psycholoicalidentication with that character. This is only one of the devices "y which thecinema seeks to manipulate and control how the spectator feels and what heor she is thinkin. ?ther types of shot articulations &what cinematic movesare called in critical discussion' do the same thin. 5or example, in the s,ot+re)erse+s,ot sequence, the spectator occupies alternately the position ofnow one character in the dialoue, now the other character, thus switchinidentications every few seconds without really knowin it. Another type ofshot that has the e+ect of manipulatin the viewer is without dou"t theclose+up. $n the early years of the cinema, there were no close!ups, only lon

shots, so that the spectator was always held at a ood distance from thecharacters= this distance worked aainst the identication processes thatmodern cinema seeks to encourae.

When you see a close!up, for instance, you have the sense of "ein in veryintimate connection with the character, close indeed to him or heremotionally and thus a"le to reister and even feel directly what he or she isoin throuh. That sense of closeness is, of course, illusory, since inactuality you are situated in a seat some distance away from the face on thescreen, not only in space "ut also in time. &ust think of the fact that the actorhas done this performance not at the present time, "efore your eyes, as itmay seem, "ut in a di+erent place many weeks, months, or even years"efore the date at which you view the lm. The actor or actress is thus not

even 8present9 to you= only a shade or deleate is.' But the close!up morethan anythin else in cinema can elicit reactions from you "y makin you feelthat you are up there on the screen, a part of the proceedins, and not therein your seat.

A ?oom, which is a movement of a lon focal lens > not of the camera itself> either in toward an o"%ect or out away from that o"%ect is a cinematicarticulation that you pro"a"ly have seen many times. $t is the refocusin ofyour eye that you instinctively do when you instantly turn your attention fromone thin to another= it reisters exactly this kind of sudden turnin ofattention, as if your very eyes have noticed somethin and focused in on it,or indeed pulled "ack from it, and in this way, the (oom imitates the patterns

of your mind and your vision. Similarly, the pan ets you to turn your neck,so to speak, without movin your head= via the doll!, you walk forward,"ackward, or to the side without leavin your seat, etc. These are the ways"y which the camera enlists your attention and your response, and "ecausethey seem so 8natural9 > %ust the ways in which you are used to seein ineveryday life > you hardly notice that you have "een captivated.

A lm audience does not want to "e conscious of the fact of pro%ection, doesnot want not to see the screen "ut rather the maical unfoldin of the

2#



imaes, does not want to have to think a"out the machinery or pro%ection, forthat too interferes with its total a"sorption in and captivation "y the lm’sction. All of these components of the cinema that are e+ectively o"literateddurin a screenin > the camera, the pro%ector, the screen and even, as wehave seen, the spectator him! or herself > taken toether are referred to asthe cinematic apparatus. -inema counts on makin this apparatus

unapparent. 5or if it were apparent, the main illusion on which cinema is"ased, that of lookin in on a private world that unwinds maically, would "espoiled. Thus, the cinema’s means of production are concealed so that thespectator is not aware of the material machinery that constructs the lmicillusion= he or she has the false sense that the story is "ein told "y no"odyfrom nowhere, or even produced "y the spectator.

22



Alicati'n ' Film /erms

%aterials T;-/;** player

5ilm clip

&urpose To demonstrate an understandin of cinematic terms

To practice a close readin stratey and an analysis of lm

To examine the cinematic e+ects of lm on the reader

'teps

#( Ask students to present their collaes from the previous activity in small roups anto review the lm terms.

2( 6ext, expose students to the practice of close readin lm "y showin them shortclips that emphasi(e certain techniques. Students may focus more on cameratechniques with the sound turned o+. $n this rst read, direct students to identify acut from one shot to the next "y clappin each time a new shot appears in this shoclip.

3( 6ext, view aain &re!read' this same clip, this time with the sound on and askstudents to identify as many of the lm terms as they can in application. They canuse the lm terminoloy list to assist them in this process.

4( 6ext, write three to ve lm terms, each from a di+erent cateory, on an index carAssin students to roups and ive each roup a card. Students may role play as

director, cameraman, and actors to create a short scenario usin the terms on theicard. Allow them a specic amount of time to plan and practice usin thesetechniques. Students will then demonstrate the terms from their cards for the clas5or example, one roup’s card may include the terms dolly trackin, low anle, and"ottom lihtin. They decide to create a scary scene where the villain sneaks up"ehind the victim. The 8victim9 will "e sittin in a chair. The 8cameraman,9 holdinhis or her paper camera, will walk alonside the 8villain,9 simulatin dolly trackin.When the 8villain9 reaches the 8victim,9 the 8cameraman9 moves to the 7oor tocreate the illusion of a low anle. Another student will hold a 7ashliht underneaththe 8villain’s9 face to create the illusion of "ottom lihtin.

5( @ast, ask students to re7ect on this exercise and consider why they made the

choices they did in their presentations. $n a quickwrite, students should consider tfollowinC What e+ect did you want to have on your audience What choices did ymake in your direction to achieve your desired e+ect

23




%aterials T;-/

Meet Joe Black

5ilm view notes

&urpose To demonstrate an understandin of cinematic terms

To practice a close readin stratey and an analysis of lm

To examine the cinematic e+ects of lm on the reader

'teps

#( Students will participate in a close readin of a short clip from the lm Meet JoeBlack . This clip "eins approximately 3< minutes and DE seconds into the lm afterBrad :itt’s character has %ust met his love interest in a diner. The scene "einsimmediately after the couple exits the diner. Ask students to view this clip once witthe sound o+ and respond to the text "y notin which shots the director uses. Tellstudents not to ruin the scene for others if they’ve already seen this movie. Fsinthe raphic orani(er, students should take notes on this series of shots "ack andforth "etween the two charactersC

@on shots to esta"lish the settin

)edium shots to display the "ody lanuae of the characters

-lose!up shots to esta"lish the facial expressions of the characters

Shot!reverse!shot to esta"lish a conversation "etween the two characters anthe "uildin tension

0ih!key lihtin to esta"lish the mood of this scene > liht and happy

2( This scene will end a"ruptly when Brad :itt’s star!crossed character crosses thestreet and is hit "y a car "ecause he is so pre!occupied with his love interest.$mmediately after the character’s death, the lm fades to "lack for approximatelyseven seconds to ive the audience time to respond to the shock of this traedy.

The scene fades slowly "ack into the next scene.

3( Ask students to enerate three questions that they would like to ask the director ifhe were in the class. Students should share their questions in small roups andpredict what the director’s response miht "e.

24



4( $nform students that when the lm is read closely, the director ives us several hinof what’s to come in this scene. $t is suested that students now review &re!read'this scene with the sound on. 6ow that they know what is oin to happen, theyshould examine how the director sets up the viewer &reader' for this event. Aain,students’ responses should unveil how the director accomplishes this task "y a

series of shots "ut this time should also note what can "e o"served "y the closereaderC lon shots to esta"lish traGc and medium shots to esta"lish indecision anddistraction on "ehalf of "oth characters, for example. After this viewin, askstudents to take notes and discuss their ndins. $n a t,in-+pair+s,are, askstudents to respond to the followin promptsC

0ow does the director use sound &dieetic and non!dieetic' to enhance thisscene

Why does the director choose to fade out to a "lack scene for so lon and fadin aain slowly

What is the e+ect of the fade to "lack on the audience and what did the

director do to achieve this e+ect5( 5inally, ask students to craft an analytical statement a"out this scene. Hou will

pro"a"ly need to assist them in this process "y talkin them throuh a review of threadin strateies they have learned and the connections "etween those readinstrateies and the process they used to make meanin from the lm. )oreimportant, ask students how they came to make meanin of this text &lm clip'.What strateies did they use while readin this clip This is a reat time to point oto students the relationship "etween readin print text and non!print text. Bothrequire skills to ascertain meanin. Students’ lists of readin strateies shouldresem"le this oneC

)akin predictions

Iuestionin the text

/espondin to the text

/e!readin

-lose readin

)akin inferences

25





27




&continued'

?n separate paper, respond to the followin promptsC

0ow does the director use sound &dieetic and non!dieetic' to

enhance this scene

Why does the director choose to fade out to a "lack scene for so lonand fade in aain slowly

What is the e+ect of the fade on the audience and what did the directordo to achieve this e+ect

What strateies did we use today to make meanin from this text

28



;eading Film$ Edward Scissorhands

%aterials T;-/

Ewar Scissorhans

&urpose To set the context for the lm studentswill read and analy(e

To examine cinematic and theatricalconcepts of lm in application

To practice strateies for readin lm

To understand the connection "etweenreadin lm and readin printed text

'teps

#( Ask students what they know a"out the director, Tim Burton, or the composer,*anny #lfman. $f any students are familiar with the director or composer allow theto share their knowlede with the class. $f students have no prior knowlede, youmay want to provide some "ackround information "y "rinin in articles or showinwe"sites that contain information a"out Burton or #lfman.

2( A raphic orani(er is provided to assist students in understandin the ma%or visuaand literary elements that will "e studied throuhout this lm. -onsider uidinstudents throuh a close readin of the openin of the lm in two sementsC

&<J<.<4.D4' is the openin title sequence of the lm. As the credits roll, theviewer is exposed to an array of imaes shot in low!key liht of a castle withscientic instruments, cut out pictures, hands, and faces, all spinnin toward thecamera. Ask students to make predictions "ased on the author’s use of imaery this viewin sement.

&<.<4.D4J<.<K.<L' is the 8frame9 of the movie > an old woman prepares tonarrate the story of #dward Scissorhands to her randdauhter. Ask students toread this section closely and "e especially o"servant of the way the cameramoves. 6ext, lead students throuh a discussion of this openin and aain askthem, "ased on this sement of text, to make predictions on what type of lm this.

3( 5inally, in an e+ort to set the context for the lm, ask students to conduct someresearch on the director, composer, actors, or the lm itself. Students should collecas much data as possi"le and "rin it to the next class meetin. Hou can "ein thenext lesson with a thouhtful discussion of their ndins.

2"



;eading Film$ Ed+ard ciss'rhands

'e/ment of

Film

@bser)ations: <,at

is ,appenin/ in t,issceneB

Interpretation: <,at can !o

infer or predict based on !ouobser)ationsB

T,e @penin/Credits:Ima/es*',apes* %usic

T,e Frame'tor!:randmot,erit,randdau/,ter

'e/ment @ne: @penin/ Titles

#( *escri"e the music in this scene. What type of movie does it remind youof

2( 0ow does the lihtin create the mood of this openin

3$



egment /+'$ Frame t'ry < Grandm'ther +ith Granddaughter

#( 0ow has the music chaned "etween this and the previous scene Why

2( What does the camera do when it leaves the room where the story is"ein told Why do you think the director does this

3( What do you think this lm will "e a"out Why

3#



;eading Film$ Ed+ard ciss'rhands creening %ay A

%aterials T;-/

Ewar Scissorhans

&urpose To have students enae actively with the lm

To read the lm closely to analy(e its cinematic and theatricale+ects

To craft an analytical statement and support it with evidencefrom the text

'teps

#( Too often, students watch lm passively. This note!takin activity is desined tohave students remain enaed with the lm "y chunkin the text and viewin it in

four small chunks and re!viewin key sequences for a specic purposeC to examineframin, lihtin, music, camera movement, and editin in Screenin *ay A&<.<K.<LJ<.4M.41'

Summary &:reviewin'C The scene "eins with :e &we later learn that she is therandmother’s mother' sellin Avon door to door in a very su"ur"an town. When itdoes not o well with the neih"ors, she decides to try at the "i, loomy castlethat looms %ust outside of town. She meets #dward, who appears to "e there allalone, and she insists that he come to stay with her and her family. While thewomen of the town immediately start ossipin a"out him, #dward sees pictures of:e’s teenae dauhter, Nim, who is away on a campin trip. 0e has somediGculties ad%ustin to clothes and cutlery. This sement ends when #dward istucked in for the niht.

Ney SequenceC *o a close readin of the scene "y examinin the sequence fromwhen :e enters the castle until she and #dward are in her car. 6otice the chaninmusic and the use of lon shots to show how out of place :e is in the castle.6otice, too, the use of lon shots of #dward to create fear and suspense, until wesee him in a close!up, at which point we know that he is harmless.

2( Students will read;view this sement of the lm all the way throuh withoutinterruption. When the scene concludes, students will respond to the discussionquestions on the Student :ae in small roups of ve, called 8home "ase9 roups.After students have thouhtfully discussed the literary elements of this section oftext, ask the students in each roup to num"er themselves from one to ve. After

they’ve num"ered o+ * %isaw students into expert roups "y askin them toreroup "y like num"erC All of the ones should roup toether, the twos toether,the threes toether, the fours toether, and the ves toether.

3( After students are in their expert roups, assin each roup a cinematic element tofocus on for the second readin/;viewinC roup one > music;sound= roup two >camera movement= roup three > editin= roup four > lihtin= roup ve >

32



frames. 6ext, allow students to re!view the key sequence and use the /rap,icor/ani?er on the Student :ae to track their responses. Students should comparetheir notes and discuss their ndins so that they may come to a consensus a"outwhat they o"served, infer why the director may have made that cinematic choice,and examine each element’s impact on the audience.

4( 6ext, model the analytical statement for students and ask them to work toether craft one focusin on their assined cinematic element.

5( Students should return to their home "ase roups and share their expertise on thecinematic focus and the discussion and analytical statements from their expertroups.

iscussion Duestions for t,e ome 9ase roup a! A

While viewin the key sequence of the text, note the places where you see a

particularly interestin example of your assined cinematic element. Hou willwant to put your notes on a separate sheet of paper.

Framin/An/les

1i/,tin/ Camera%o)ement

%usic'ound 0ditin/

#( What do we know a"out :e after viewin this sement

2( 0ow has the director already esta"lished a connection "etween #dwardand Nim

33



3( 0ow do you feel a"out #dward What do you think will happen to him

4( 0ow do you feel a"out the town Why do you feel this way

34



;eading Film$ Ed+ard ciss'rhands creening %ay A

Anal!tical 'tatement: 0ow did the director use the cinematic elements inorder to achieve his purpose

$n Ewar Scissorhans, Tim Burton uses OOOOOOOOOOOOOOOOOOOOOOOO &cinematic

element! in order to OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO

"achieve what purpose!.

35



;eading Film$ Edward Scissorhands creening %ay

%aterials

T;-/

Ewar Scissorhans




'teps

#( Students will view the second sement of Ewar Scissorhans. Ask them to

assem"le in their home "ase roups and review with one another the previousday’s learnin. Then direct students to make meanin of the lm text usin the/rap,ic or/ani?er for Screenin *ay B &<.4M.41J<.K3.LM'

Summary &&re)iein/'C #dward "eins to row more comforta"le with thefamily and the town. 0e trims one shru" to resem"le a dinosaur and another torepresent the perfect, nuclear family &without him, thouh'. 0e has two7ash"acks to his time in the castle when The $nventor was still alive. Nim comes"ack and is very scared at rst. #dward "eins trimmin the neih"or’s hedesroomin dos, and ivin the women haircuts.

Ney Sequence &Close =eadin/'C The rst 7ash"ack to the castle. Thinka"out what triers this 7ash"ack for #dward, and how the music, lihtin, and

tone are di+erent. 0ow is the cookie heart a sym"ol $n what way is the "akery’sassem"ly!line structure similar to the town and its reulated order

2( -ontinue the Ei/sa "y askin students to return to their expert roups. Assinthem a new cinematic element to focus on for the key sequence. Students shouldtake notes while viewin, and discuss their ndins after the viewin, and makesome predictions a"out the story’s outcome.

3( *irect students to craft an analytical statement= today, however, they shouldreference an example from the lm to support their claim. Hou miht want tomodel this to ensure students are on the riht track.

4( Students will return to home "ase roups to share their ndins on their cinematic

element as well as their analytical statements with textual examples.

5( Hou may want to close today’s lesson with a whole!roup share of random studentsamples.

36



iscussion Duestions for t,e ome 9ase roup a! 9

Framin/An/les 1i/,tin/ Camera%o)ement %usic'ound 0ditin/

#( Why do the townspeople welcome #dward so quickly into their lives

2( 0ow does the town seem to chane after #dward’s arrival

3( Nim’s reaction to #dward is played for humor, "ut in what way is hers themost natural or realistic response

4( What was the hint in this sement that all will not work out well

While viewin the key sequence of the text, note the places where you see aparticularly interestin example of your assined cinematic element.

37



Anal!tical 'tatement it, Te.tual 'upport

Tim Burton, in Ewar Scissorhans, used OOOOOOOOOOOOOOOOOOOOOOOOOOOOO in

order

#inematic element

to OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.

$chieve what purpose

5or example, OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.

%rovie evience &rom the text to support the topic sentence.

38



t'ry5'ard Predicti'n

%aterials T;-/;**

Ewar Scissorhans

&urpose To analy(e and make meanin from a printed screenplay

To predict how the director miht capture a particularaspect of a screenplay

To create and present a story"oard that mimics a director’sstyle

To craft a re7ection that rationali(es the predictions

'teps

#( Bein "y discussin the purpose of a story"oard. )ention how it allows the directoto visuali(e what his or her lm will look like, prior to the actual lmin. )any **now include the director’s story"oards in the "onus materials= perhaps you miht "a"le to show students one or more of those.

2( /ead aloud a short passae of a text that is particularly visual. The endin of 8TheScarlet $"is,9 for instance, would work well. Ask students to visuali(e how thispassae would look as a lm.

3( Ask students to draw at least three frames &a rectanular, movie!shaped "ox' of alm adaptation of the text you read. $nstruct them to try to include particularframin, lihtin, anles, and other elements that would e+ectively capture the texas a lm.

4( When you feel that your students understand the concept of a story"oard and itsfunction, direct them to do a close readin of the excerpt from the screenplay ofEwar Scissorhans. This is a scene that they have not yet seen in class. As theyread, students should infer how Tim Burton would lm this scene.

5( *irect students to transform this screenplay into a story"oard "y drawin up to sixdi+erent shots that Burton miht lm to capture this scene. Tell them to use asmany appropriate cinematic elements as possi"le and to descri"e the sound,lihtin, and dialoue. This activity miht "e done "est in pairs.

6( When they are nished, students should answer some re7ective questions a"out

their reasons for usin particular cinematic elements. After they have viewed thisportion of the lm, students should return to this re7ection and consider thedi+erences "etween their prediction and what Burton actually lmed.

3"



'creenpla! 0.cerpt from Edward Scissorhands

N$)

Hou’re here. They didn’t hurt you, did

they Were you scared $ tried tomake im o "ack, "ut you can’tmake im do anythin. Thank you fornot tellin them a"out me.

#*WA/*

Hou are welcome.

N$)

$t must have "een awful when theytold you whose house it was.

#*WA/*

$ knew it was im’s house.

N$)

Hou did

#*WA/*

Hes.

N$)

Well, then why did you do it

#*WA/*

Because you asked me to.

&im calls out for Nim, who runsoutside to see him. #dward watchesthem toether and then stalks o+ down the hallway, tearin thewallpaper with his hands.'

4$



$maine how the precedin scene miht "e lmed "y Tim Burton. 6ext,predict how he miht sequence the shots and craft a story"oard that willcapture the essence of the sequence.

'@T

escribe t,e %usic'ound:

ialo/ue:

Framin/GGGGGGGGGGGG 1i/,tin/:

'@T


ialo/ue:


4#



'@T


ialo/ue:


'@T


ialo/ue:


42



'@T


ialo/ue:


'@T


ialo/ue:


=eHection DuestionsC @ook "ack throuh your shots and, on separate

paper, answer the followin questions. Why did you choose the framin,lihtin, and music that you did What words or phrases from the screenplaymade you picture this 0ow did the scenes you have already seen in themovie help you make these choices After you have seen your scene as itappears in the movie, how did it compare to the one that you envisioned#xplain.

43





5( Hou miht want to close today’s lesson with a whole!roup sharin of randomstudent samples.

45



iscussion Duestions for t,e ome 9ase roup a! C

Framin/An/les

1i/,tin/ Camera%o)ement

%usic'ound 0ditin/

#( $s #dward "ehavin any di+erently than he did "efore What is di+erenta"out the town’s treatment of him

2( What is the e+ect of the scene with Nim dancin in the ice crystals 0owhave her feelins a"out #dward chaned Why

3( 0ow has #dward tried to t in Why has he failed What does the 8ethicslesson9 reveal a"out #dward


46



Anal!tical 'tatement it, Te.tual 'upport and=eHecti)e Commentar!


order

#inematic element



5or example, OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.


'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''.

'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''.

(efective commentary "explain why this evience supports!

47



;eading Film$ Ed+ard ciss'rhands creening %ay %

%aterials T;-/

Ewar Scissorhans




'teps

#( Students will view the fourth sement of Ewar Scissorhans. Ask them toassem"le in their home "ase roups and review with one another the previous daylearnin. Then direct students to make meanin of the lm text usin the raphicorani(er for Screenin *ay * &3.3E.33J3.D<.<<'.

Summary &:reviewin'C The scene "eins with #dward’s ht with im, whotells him, 8et out of here, freak.9 As #dward leaves, he tears o+ his clothes,punctures a tire, and cuts down one of his shru"s. While :e and the police areout lookin for him, #dward returns to the house, where Nim tells him 8hold me,9"ut he replies, 8$ can’t.9 The sement then oes to a 7ash"ack of #dward in thecastle when The $nventor died.#dward saves Nevin from a swervin car, "ut the townspeople think that he isattackin Nevin. Nim ures #dward to leave "efore the townspeople and im hurthim. #dward returns to the castle, now overrown and forotten, "ut thetownspeople follow. #dward kills im when im threatens Nim, who tells #dwardthat she loves him. A last lon shot of #dward shows him all alone aain. The lmreturns to the frame story of the older Nim who tells her randdauhter that"efore he came there never was any snow, "ut now there is. We see a nal shot #dward in the castle carvin an ice sculpture.

Ney Sequence &-lose /eadin'C @ook at the 7ash"ack of when The $nventordied. Besides the possi"ility of ettin his hands, what else did #dward lose thaday 6otice the framin and the music durin this sequence, especially at thevery end. 0ow has Nim helped him to overcome this loss

2( -ontinue the %isaw "y askin students to return to their expert roups. Assinthem a new cinematic element to focus on for the key sequence. Students shouldtake notes while viewin and discuss their ndins afterward.

3( *irect students to craft an analytical statement with an example to support theirstatement and re7ective commentary. Today, however, they should work onprovidin a sentence of closure to explain their interpretations. Hou miht want tomodel this to ensure that students are on the riht track.

48



4( Ask students to return to home "ase roups to share their ndins on their cinemaelement as well as their analytical statements with textual examples. Hou mihtwant to close today’s lesson with a whole!roup share of random student samples.

4"



iscussion Duestions for t,e ome 9ase roup: a!

Framin/An/les 1i/,tin/ Camera%o)ement %usic'ound 0ditin/

#( *oes #dward’s aner toward the town seem %ustied

2( 0ow does #dward appear to feel a"out im’s death 0ow does Nimappear to feel

3( Why do you think #dward cuts his clothes o+

4( )ost fairy tales have a lesson or a moral to teach. What do you think Nim

wants her randdauhter to learn from her story


5$



Anal!tical 'tatement it, Te.tual 'upport and=eHecti)e Commentar!


order

#inematic element



5or example,OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.


'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''.

''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''.

''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''.

(efective commentary

OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO.

Sentence o& closure)summary

5#



;eading Film$ Cr''lyn Previe+ing

%aterials T;-/;**

#rooklyn

&urpose To understand the context of the lm

To reconi(e the su"%ect matter and text features of the lm

'teps

1. Students will begin *iewing Spi'e Lee6s coming o) age )ilm Crooklyn. To prepare themsel*e

as' them to consider the songs e*ents and neighborhoos o) their relati*e #outh b# wor'ing

through arts (ne Two and three o) the )ollowing pages.

2. Then the# will spend some time considering the )ilm6s director Spi'e Lee b# answering the

Huestions in art ,.

@. Introduce students to the generic )ilm note ta'ing )orm b# using one or more o) the pre*ious

*iewed clips. Fotice that the )orm has a section )or -inematic as well as Theatrical elementsAcostumes props sets acting choice etc.C. Students should read the accompan#ing article on

Theatrical lements in %ilm and practice with pre*iousl# *iewed or new )ilm clips.

;ati'nale 'r teaching Crooklyn: Spi'e Lee is one o) "merica6s most original daring and

contro*ersial directors. >e )ocuses sub3ects and themes that most >oll#wood )ilmma'ers wouldn6t

'now what to do with e*en i) the# did touch with a ten$)oot pole. !an# o) his )ilms see' to counterracial stereot#pes o) ")rican$"merican li)e b# creating characters that are )ull real and ali*e. >e an

his mo*ies are lighting rods )or e*er# sort o) attac' )rom ")rica$"mericans as well as whites but atleast he is out there hitting ner*es li'e good cinema should do. Un)ortunatel# man# o) his )ilms arerated / )or *iolence seual situations and especiall# *ulgarit#. >is Do the Right Thing is brilliant b

our communit# might not be so com)ortable with the pro)anit#. So all this brings us to Crooklyn a

*er# good though ma#be not great Spi'e Lee )ilm. It is not a politicall# charged )ilm but a ratherendearing -oming o) "ge stor# told )rom the perspecti*e o) a #oung ")rican$"merican girl. The

uniHueness o) the *oice itsel) should 3usti)# its inclusion in a ninth grade class but cinematicall# and

especiall# musicall# Lee has recreated time and place A19E0s 4roo'l#nC so e))ecti*el# that it wor's

*er# well )or )ilm stud#.

52



/heatrical Elements in Film

re*iousl# we eamined those elements that are uniHue to )ilm: )raming editingetc. but since )ilms share elements with other art )orms we should eamine those as

well. (b*iousl# one o) the most similar art )orms )rom which )ilm deri*es much o) itscore is the theater. &e will not necessaril# be comparing theater and mo*ies but ratherwe will eamine those elements that are t#picall# )ound in drama that also appear in )ilm

and be able to eplain their e))ects. The main categories o) theatrical elements are sets

costumes props and acting choice.

ets$ (n a mo*ie set the production designer is the person who is most

responsible )or the loo' o) the )ilm6s settings. >e or she wor'ing closel# with the )ilm6s

director super*ises the sta)) that creates the sets designs the costumes applies ma'e upand locates or constructs the props. *er# one o) these choices can ha*e a tremendous

e))ect on characteriation setting theme and an audience6s reaction. Imagine going to

see a horror mo*ie. &ould it be scarier i) it too' place in a brightl# lit modern$da# condoor in a dar' decrepit mansion? The answer is clear: the set determines an audience6s

epectation )or the action. "lmost e*er# scene in "l)red >itchcoc'6s Rear Window ta'es

place within a single room. The set used had to )eel claustrophobic enough )or the

audience to )eel as trapped as the main character who must sta# inside all the time but atthe same time the set includes a huge window that o*erloo's the neighbors6 apartments.

The set then )orces us to want to loo' out that window and to become *o#eurs 3ust as

the main character does. In the )ilm *ersion o) A Streetcar a!ed Desire the directoras'ed that the set walls be mo*ed in closer to each other as the )ilm progressed so that it

seems as i) the world is pressing down on the characters leading them to the brea'ing

point. Fot all the sets ta'e place in a studio8 o)tentimes )ilms shoot on location which

can still be described as the <set= o) the scene. The same Huestions can be as'ed about thesets o) )ilms on location. &h# does Few Gor' -it# loo' absolutel# beauti)ul in &ood#

"llen6s "anhattan but )rightening in "bel %errara6s The #ing o$ ew %ork ? The answeris )ound in what the )ilmma'ers were tr#ing to get the audience to )eel about their

sub3ects and the# use the sets to help them achie*e that purpose.

C'stumes$ I) #ou watch an# old &estern #ou can alwa#s identi)# the good and

bad gu#s 3ust b# the colors o) their hats. Costumes are a Huic' signal )or characteriation.

>ow we )eel about a character o)ten comes simpl# )rom how the# are dressed. Thin'

about Indiana 5ones8 when he is teaching at the college he wears a suit a tie and glasses

and clearl# loo's uncom)ortable but as soon as he is out on ad*enture he dons hisleather 3ac'et whip and his trust# hat and is more relaed and at ease8 the Ind# we li'e

best is the second one o) course. -ostume designers o)ten tr# to show contrasts between

characters through the clothes the# wear. In a scene )rom Rocky: when he is introduced as"pollo -reed6s net opponent /oc'# in a simple pull$o*er sweater with his shirt collar

po'ing out stands net to -reed who6s wearing a tailored three$piece suit8 the

di))erences between these two men could not be made more clear. -ostumes can alsoshow growth or de*elopment o) a character. In a scene )rom Eli&abeth the #oung and

53



ner*ous Hueen is shown rehearsing )or an important speech dressed in a simple white

nightgown8 we )eel scared )or her because she loo's so *ulnerable in her nightgown.

Later as she is deli*ering the speech she is regal in a bright red gown that stands in sharpcontrast not onl# to her earlier dress but also to her audience who is dressed almost

entirel# in blac'8 she deli*ers her speech success)ull# and her manner re)lected in her

costume is one o) con)idence and control.

Pr's$ "n# ob3ects that an actor manipulates or that are a part o) the set are

called props and the# too can re*eal in)ormation o) character setting and theme. %or

eample an opening shot o) Ste*en Soderberg6s se' lies and ideota*e shows a manwho while tal'ing on the phone idl# ta'es o)) his wedding ring and carelessl# spins it on

his des'. This simple use o) a prop re*eals that this man does not ta'e his marriage

seriousl#. " scene )rom +hiladel*hia has a character who is su))ering )rom "I+Stouching a picture )rame a bo o) cigars and other personal items on the des' o) a

law#er who is clearl# watching the in)ected man6s mo*ements *er# closel#. &hen #ou

pa# close attention to the seemingl# little details o) a )ilm #ou can see more clearl# the

)ilmma'er6s purposes.

Acting Ch'ice$ robabl# the most essential or at least *isible component o) the

theatrical elements o) a )ilm is the per)ormance o) the actors. Too o)ten we Huic'l#

sa# <he is a good;bad;terrible;)antastic actor= without reall# eamining the aspectsthat go into a )ilm per)ormance. &e are not going to e*aluate the actors but rather we

will identi)# the choices that an actor can ma'e and tr# to eplain how these choices

impact *iewers and add to characteriation and theme. The goal o) e*er# actor in an#)ilm is to e))ecti*el# and realisticall# capture the essence o) the character that the#

ha*e chosen to portra#. &hile we don6t alwa#s consider this )act the )irst choice that

actors ma'e is whether the# will ta'e a role that has been o))ered to them. Thoughthe# ma# den# it most actors are t#pecast )or certain roles either b# their own

decision or b# a people6s perceptions o) the actor. +o we want to see &ood# "llen in

an action mo*ie? 5ulia /oberts tried to change her loo's and persona in "ary Reilly

and the audiences sta#ed awa# in dro*es. "n actor whether b# his or her ph#sicalt#pe *oice ethnicit# or public persona carries certain baggage to a )ilm role so we

can certainl# discuss whether an actor is appropriate )or a particular role or not.

-ountless eamples o) poor casting choices abound in >oll#wood )ilms that seriousl#compromised the belie*abilit# o) the character and negati*el# a))ected the )ilm6s

goals. Some eamples that come to mind are: Tom -ruise as Lestat in ,nteriew with

a -a!*ire 7e*in -ostner with a 4ritish <accent= in Robin .ood: +rince o$ Thiees

7atherine >epburn as a hillbill# in "orning Glory and /obert /ed)ord in The GreatGatsby.

4ut acting li'e painting and )ilmma'ing is an art and there are man# tools that an

actor has at his or disposal to communicate a character to an audience. (ne is theactor6s deli*er# o) lines. The wa#s that an actor chooses to sa# his or her lines greatl#

a))ects the audience6s reaction to the character8 an actor can shout whisper cr#

laugh etc. The same actor can portra# totall# di))erent characters simpl# b# the wa#the lines are said. "l acino )or instance is etremel# euberant with a -uban

54



accent in Scar$ace while in the )irst two God$ather )ilms he is etremel# subdued

and Huietl# menacing. &hen a )ilm or a particular scene in a )ilm calls )or a

particular mood and tone we should be able to isolate how the actors6 deli*er# o) thelines helps to con*e# that mood or how their deli*er# detracts )rom it. "gain this is

not necessaril# an e*aluation o) the actors6 per)ormances but rather it is a wa# to

identi)# the contributions that this theatrical element can ha*e on a )ilm."nother tool that actors ha*e are the mo*ements and gestures he or she uses. Thin'about "nthon# >op'ins as >annibal in The Silence o$ the /a!bs: the wa# his e#es

)ollow -larise around how his hands wa*e lightl# to the music be)ore he stri'es and

his animalistic smile at the taste o) human blood. "ll o) these contribute to theaudience6s )eelings toward the character. &hen #ou )ocus on the seemingl# small

details o) an actor6s mo*ements #ou can begin to understand e*en more about the

)ilm6s purposes.

These theatrical elements allow )or us to epand what we can loo' )or in a )ilm and to

see e*en more clearl# the amount o) )ine attention to detail goes into the creation o) amo*ie. &hen we notice how the cinematic elements support the theatrical we can see

the number o) wa#s that a )ilmma'er can communicate his or her ideas and to seehow complicated this process can be.

(ne o) the most important Huestions we can as' when anal#ing )ilm is: how does the

director use cinematic and theatrical elements to illustrate literar# elements? The

answers to this Huestion can lead us to a greater understanding o) a )ilmma'er6sintention than we could ha*e without the abilit# to anal#e mo*ies as described

abo*e.

55



Film ie+ing ='te taing

Title: JJJJJJJJJJJJJJJJJJJJJJJJJ Gear: JJJJJJJ+irector: JJJJJJJJJJJJJJJJJ

Cinematic Elements

($ra!ing lighting sound editing etc0)

/heatrical Elements

(costu!es *ro*s sets acting choice etc0)

Pers'nal ;es'nse

(as you watch)

")ter *iewing on the bac' write a strong topic sentence about what the director is tr#ing

to achie*e in this section o) the )ilm and write a paragraph that supports it with speci)ic

eamples )rom the toda#6s *iewing.

56



Crooklyn >ntr'ducti'n

Part &ne: Songs

1. &hat are two songs that #ou remember hearing or listening to when #ou were

#oung Aat least B$10 #ears agoC? &h# do #ou thin' #ou still remember them?

2. &hat are two o) #our )a*orite songs right now? &h# these?

@. (n a scale o) 0$10 how important is music to #our li)e right now? &h# did #ougi*e it this rating?

Part /+' State an# e*ents that #ou remember )rom the )ollowing time periods o) #our

li)e. +o not worr# i) the e*ent #ou state is seemingl# insigni)icant. It could be a trip to the

oo or a death in the )amil#.

irth t' ive years 'ld Ages Five t' /en Ages Eleven t' Present

• -hoose one o) the abo*e e*ents and imagine that someone were going to ma'e a

music *ideo o) that e*ent. &hat song would the director use? &h#? &hat would be

the images that we would see on the *ideo?

57



Part /hree: Feighborhood

+raw a map o) #our bloc' on which #ou li*e. Label #our house or apartment and the

houses o) people #ou li'e;hate;are scared o) etc. !ar' the bus stop or other signi)icantlandmar's. Use color i) #ou wish.

58



Part F'ur: %ilm and +irector

1. &hat do #ou 'now about the director Spi'e Lee? &hat )ilms o) his do #ou 'now?

2. &hat do #ou thin' o) when #ou hear the title o) the )ilm Crooklyn?

@. 4ased on the Huestions here what do #ou thin' this )ilm will be about? &h#?

5"



Crooklyn ie+ing %ay #1$ 6!-(3!(!!8

Total time: @0 minutes

4egins with: (pening titles Ae*en i) #ou showed them earlierC

nds with: Feighbor6s arrest

Fotice: The tender but chaotic )amil# li)e is shown b# the Huic' ta'es )ast

mo*ing camera and o*erlapping dialogue. Gou will notice Huic'l# that the pace o) the

mo*ie changes all the time: normall# a *er# bus# scene is )ollowed b# a Huiet and slow

scene. &hen Lee )ilms the drug sni))ers Athat6s Spi'e Lee as one o) themC he re*erses the

image and shows them )loating upside down clearl# showing the ill e))ects o) drug use

and how out$o)$norm it is in the neighborhood. &e see that the )ather is the bringer o)

treats to the )amil#.

7e# SeHuence: A12.BB$1,.2DC

")ter the crainess o) the night be)ore Lee shows us a o*erhead shot o) Tro# in

the morning. The camera mo*es slowl# and catches her 3ust wa'ing up with light music

in the bac'ground which acts as her own theme song throughout the )ilm. %or the )irst

time we see 3ust a single person in scene. The mood continues as she goes downstairs to

)ind her mother in her )a*orite chair and the# share a Huiet moment and matching close$

ups to establish their close relationship and resemblance. The# are the onl# women in the

)amil# o*errun b# men.

6$



Film ie+ing ='te taing %ay 1

Title: -roo'l#n Gear: 199, +irector: Spi'e Lee

Cinematic Elements($ra!ing lighting sound editing etc0)

/heatrical Elements(costu!es *ro*s sets acting choice etc0)

Pers'nal ;es'nse(as you watch)

")ter *iewing on the bac' write a strong topic sentence about what the director is tr#ingto achie*e in this section o) the )ilm and write a paragraph that supports it with speci)ic

eamples )rom the toda#6s *iewing.

6#



Cr''lyn %iscussi'n uesti'ns %ay &ne$

1. &hat is the tone and mood o) this mo*ie so )ar? &hat helps to create this?

2. &hat are some o) the con)licts that seem to be de*eloping? &hat do #ou

thin' this mo*ie is going to be about? &h#?

@. &atching this )ilm so )ar #ou could sa# that nothing has happened so )ar.

>ow is the plot o) this )ilm di))erent than most? &h# do #ou thin' the writers

and director chose to tell their stor# this wa#?

,. &hat similarities or di))erences ha*e #ou seen between this )ilm and #our

own li)e and )amil#? Thin' about dinner time dealing with siblings and

parents and #our neighborhood.

62



Viewing Day #2: Crooklyn (.3.!"..$

Total Time: @E minutes

4egins with: 7ids watching the artridge )amil#

nds with: %amil# arri*ing at relati*es6 house

Fotice: &hen the parents and 'ids get into the big )ight Lee cuts Huic'l# bac'

and )orth while the up$tempo song <I6ll Ta'e Gou There= pla#s on the soundtrac'. The

audience is le)t somewhat unsure whether to laugh or cr# during the scene. Tro# has

another Huiet scene alone with a parent this time with her )ather on the steps outside. It

mirrors in )raming tone and music the earlier scene with her mother.

7e# SeHuence: AB,.@K$BK.11C

This is Tro#6s nightmare scene and it begins with the identical o*erhead shots o)

her bedroom )rom #esterda#6s 'e# seHuence but this time the lighting is low$'e# and the

music is )ast and 3agged. In bed Tro# is writhing around almost li'e she is running in

place. "nd in her dream which has a dar' blue o))$)ocus tint to it she is running awa#

)rom the drug sni))ers. The# catch her )orce her to sni)) and she )loats awa# as the song

A<Time. . .=C also )ades awa#.

63








")ter *iewing on the bac' write a strong topic sentence about what the director

is tr#ing to achie*e in this section o) the )ilm and write a paragraph that supports it with

speci)ic eamples )rom the toda#6s *iewing.

64



%iscussi'n uesti'ns$ Cr''lyn %ay 2

1. So who is the main character o) this stor#? >ow do #ou 'now this? &h# did

the director ta'e so long to establish her as the main character?

2. !usic pla#s such an important part in the )amil#6s li)e and in the )ilm. &hat

songs stuc' out )or #ou and wh#? &hat e))ect do the# ha*e on the *iewer?

@. &hat things in this )ilm seem to date it to the 19E0s? &hat things still seem

similar to toda#?

,. &hat do #ou thin' Tro#6s dream signi)ies and wh# did Lee )ilm it that wa#?

65



ie+ing %ay #3$ Cr''lyn 61(!7(!!-1(2(!!8

Total Time: 22 minutes

4egins with: %amil# going into the house

nds with: Tro# being pic'ed up at the airport Fotice: +o not ad3ust #our tele*ision sets: Lee intentionall# distorts the )rame

when the# go inside the house b# using an anamorphic lens which sHueees the imagestogether. (b*iousl# this is used to demonstrate Tro#6s )eelings o) unease outside o)

4roo'l#n and the e))ect is 3ust as disorienting )or the *iewer. &hile much o) what she

sees is new )or Tro# especiall# when she has to ha*e her hair straightened she brings her <-roo'l#n= spirit )or games and mischie) which seems to in)luence her cousin. &hen

Tro# recei*es a letter )rom her mother the words come to li)e in the )orm o) images )rom

the neighborhood which are not )ilmed with the distortion. Tro#6s perspecti*e returns to

normal as soon as she gets o)) the plane bac' home.

7e# SeHuence: A1.21$1.22.B@C

This is a short but wonder)ull# e))ecti*e scene that is tuc'ed into the middle o)the letter to Tro#. It starts with the )ather6s concert then )lashes )orward to the part#

a)terward and bac' to the concert to re*eal that the audience is small and that -linton theeldest is not there. &hen -linton comes home and announces that the 7nic's won the

championship which he went to instead o) his )ather6s concert it is clear that the )ather is

hurt but still generous to his son who probabl# won6t be able to watch a game againwithout some guilt. It6s a nice scene to show how a great per)ormance b# +elro# Lindo

as the )ather good writing and an e))ecti*e use o) close$ups can ma'e a simple scene

power)ul.

66








")ter *iewing on the bac' write a strong topic sentence about what the director

is tr#ing to achie*e in this section o) the )ilm and write a paragraph that supports it with

speci)ic eamples )rom the toda#6s *iewing.

67



%iscussi'n uesti'ns Cr''lyn %ay #3

1. &h# did the director Lee choose to distort the image o) the time when Tro#

is outside o) 4roo'l#n? &hat is the e))ect on the *iewer? +o we get used to

it? +oes Tro#?

2. &hile this is primaril# Tro#6s stor# what are the other con)licts that are going

on this )amil#?

@. &hat were the new things that Tro# was eposed to while she was in the

South? >ow do #ou thin' these will e))ect her later on?

,. !uch seems to be made o) Tro#6s hair in this )ilm. &h# did her aunt

straighten it? &hat did her aunt thin' o) her hair when she returned to

4roo'l#n?

68



Viewing +a# ,: Crooklyn A1.29.00$1.,9.@BC

Total Time: 20 minutes

4egins with: The hospital

nds with: the Soul Train dance and the credits Fotice: 4oth mother and daughter ha*e new hair when the# see each other in the

hospital. &hile her mother is sic' Tro# is the onl# child not cr#ing. +uring and a)ter the

)uneral the chorus o) the song is <Someda# things are going to be easier.= Tro# is alone atthe reception a)ter the )uneral and her big brother -linton does the )irst nice thing in the

mo*ie b# sitting down net to her and ta'ing her hand. Immediatel# a)ter this we hear

the opening strains o) the Sha)t theme song and Tro# goes a)ter the sni))ers on their bloc'. Tro# begins ta'ing o*er some o) her mother6s roles we see her in her mother6s

chair combing out her brother6s hair $ and the )ilm ends with a wonder)ul shot o) the

bloc' with Tro# leaning Huietl# and peace)ull# gaing out across her neighborhood. Thelast song that pla#s o*er the credits and scenes )rom Soul Train is a rap about li*ing in the

E0s and is the onl# contemporar# song on the soundtrac'.

7e# SeHuence: A1.@K.@9 $ [email protected],C

I absolutel# lo*e this tin# scene. It starts with still dar' and silent shots o) thehouse that is ne*er Huiet and mo*es to a long o*erhead shot o) Tro# )ollowing behind her

brothers in a par'. &e hear the <>allelu3ah= song that Tro# heard down South and 3ust a

tin# *oice wondering i) the# are going to ha*e to dress up )or !omm#6s )uneral. The

tone the pace the song and the subtle dialogue communicate more real )eeling than i)Lee had chosen to )ilm a tear)ul deathbed scene I thin'.

6"





%iscussi'n uesti'ns Cr''lyn %ay 4$

1. &hat has Tro# learned )rom her eperiences? In what wa#s is she 3ust li'e

her mother and how is she di))erent?

2. >ow does Tro# deal with her grie)?

@. !an# songs were used throughout this da# to create mood. +escribe the

e))ect o) one o) the songs #ou heard.

,. &hat did #ou notice about the TV programs that the# watched? &h# do #ou

thin' Lee chose to end b# watching Soul Train?

7#



0riting t'ic and thesis statements$ Crooklyn

%aterials T;-/;**

#rooklyn

&urpose To understand the importance and role of e+ective topic andthesis statements

'teps

1. (nce students ha*e )inished their *iewing o) -roo'l#n as' them to write writing strong topic

sentences )or sample ideas and topics on the sheet that )ollows.

2. 4e sure that students ha*e the time and opportunit# to share their sentences and paragraphs

with their peers )or )eedbac'.

72



0riting t'ic?thesis sentences$ Crooklyn

te &ne: &hat is the purpose o) ha*ing a strong topic;thesis sentence in #our writing?A: Tim 4urton uses low$'e# lighting in order to create suspenseC

>ow do #ou go about pro*ing a topic;thesis sentence?

te /+': /e$watch or thin' bac' on the scene with -linton and Tro# near the end. &rite

a strong topic sentence about some aspect that Lee chooses to use: cinematic or theatrical.

/emember it should be something that can be pro*en. AThe )irst song is called <(h irl=

and the second is the theme )rom Sha$t C

Part /hree: &or'ing with a partner write a paragraph that supports the )ollowingstatement. /emember that #our audience has not seen the )ilm8 be sure to use at least

three eamples.

<Spi'e Lee in the )ilm -roo'l#n intentionall# distorts his lens when Tro# is in Virginia

in order to JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ.=

73



Part F'ur: -hoose and (F o) the )ollowing topic sentences that #ou thin' #ou can

answer well with eamples )rom the )ilm. /e$cop# the topic sentence on separate paper

and )ill in the blan'. Then write a )ull paragraph that supports this topic sentence with atleast /@;EE eamples )rom the tet. 4e sure not to simpl# list the eamples8 #ou must

elain how the# support #our topic sentence. roo)read #our paragraph )or errors be)ore

submitting.

• Spi'e Lee in the )ilm -roo'l#n creates a )ilm without a real plot in order to JJJ.

• Spi'e Lee in the )ilm -roo'l#n includes so man# songs in order to JJJJJJJJ.

• Spi'e Lee in the )ilm -roo'l#n slowl# de*eloped Tro# as the main character b#

JJJJJ.

• Spi'e Lee in the )ilm -roo'l#n ma'es 4roo'l#n seem li'e JJJJJJJJJ in order

to show JJJJJJJJJJJJ.

• Spi'e Lee in the )ilm -roo'l#n uses the diegetic sounds o) the household in

order to JJJJJJJ.

• Spi'e Lee in the )ilm -roo'l#n uses high$'e# lighting Aor low$'e#C in order to JJJJJJJJ.

• Spi'e Lee in the )ilm -roo'l#n establishes the setting o) his )ilm b# JJJJJJJ.

Part Five: &rite #our own strong topic sentence modeled on one o) those abo*e about

(F o) the )ollowing topics. Then write a )ull paragraph using the same )ormat as

abo*e.

• Tro#6s de*elopment

• >ow this is a <-oming o) "ge= stor#

• The con)licts the )amil# )aces and how the# sur*i*e

• Sibling relationships

• arent$child relationships

• The theme o) maturit# *. immaturit#

74





76





0riting the essay

Fse the followin outline to uide you as you craft a multiple!pararaphanalytical essay. Fse the space in the outline for your notes.

Introduction

Should contain a lead that ra"s the reader’s attention.

Should provide a context of the story for the reader connectin to the cinematic and;ortheatrical elements.

Should provide a thesis that interprets Burton’s;@ee’s use of your two speciedelements.

9od! &ara/rap, #

Should focus on one cinematic or theatrical element and explore its e+ect.

78



9od! &ara/rap, 2

Should focus on another cinematic element and explore its e+ect.

9od! &ara/rap, 3 if necessar!

Should focus on another cinematic element and explore its e+ect.

Conclusion

-onsider the followin questions to craft your concludin thouhtsC What didyou say in reard to Burton’s or @ee’s work in this essay What does thisinterpretive analysis mean Why does it matter

7"



8$





;E&U;CE

''s a5'ut ilm in general$

• 4ordwell +a*id and 7ristin Thompson. 199E. 1il! Art: An ,ntroduction. Few Gor':

!craw$>ill.>ands down the single best )ilm tet I ha*e used. It is etremel# thorough

introducing the technical aspects o) )ilmma'ing and eamining )ilm through its )ormst#le histor# and important critical theories. It includes hundreds o) )ilm stills man# in

color and while it is designed )or the reader with some )amiliarit# with )ilm its man#

eamples and eas# writing st#le ma'e it a great beginning tet.

• +ic' 4ernard. 1990. Anato!y o$ 1il!. Few Gor': St. !artin6s ress.

"n e*en easier read than the 4ordwell and Thompson tet this one co*ers mucho) the same ground but it brea's down man# o) the speci)ic shots t#pes and genres o)

)ilm. >e includes a wonder)ul section on )ilm subtets and some interesting ideas on )ilm

and literature. &hen I need to tr# to understand some o) the comple writings b# *arious)ilm theorists I o)ten open this boo'6s section on )ilm criticism8 he s#nthesies etremel#

well.

• iannetti Louis. 1990. 2nderstanding the "oies. nglewood -li))s F5: rentice$

>all.!# *er# )irst )ilm tetboo'. &hile it co*ers much o) the same ground as the )irst

two it includes a sample stor#board )or the corn)ield seHuence )rom Forth b# Forthwest

which I discussed in the section on )ilm terminolog#. In addition to the )ilm stills

iannetti includes some o) the best captions )or those stills I ha*e e*er read in an# boo'on an# sub3ect. Gou could learn 3ust about e*er#thing #ou need to 'now 3ust )rom reading

those captions. Though go ahead and read the rest8 it6s *er# straight)orward and clear.

• !onaco 5ames. 19D1. .ow to Read a 1il!: The Art Technology /anguage .istory

and Theory. Few Gor': ()ord Uni*ersit# ress.

&ow. I) #ou thin' the title is long 3ust wait until #ou see the boo'. &hen #ouha*e read this tet $ and understood it $$ #ou ha*e attained the grail o) )ilm theor# and

#ou6re wa# out o) m# league. It includes howe*er in)ormation absolutel# essential to the

stud# o) )ilm. !onaco is so well *ersed in the technolog# o) cinema and in the signs ands#nta o) the language o) )ilm. There are a )ew stills but e*en more signi)icant are the

man# charts and diagrams that he includes. It ma# not be the place to start with )ilm but

#ou6ll be in great shape i) #ou end up here.

• bert /oger ed. 199K. Roger Ebert3s 4ig 4ook o$ 1il!. Few Gor': &. &. Forton M

-o.!o*ie critic bert collected some o) the best writing about )ilm acting

>oll#wood directing and the lo*e o) the mo*ies in this E00 page *olume. !an# great

directors actors and producers tal' openl# about their cra)t. It is an eas# and *er#en3o#able to read.

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''s a5'ut ilm in the classr''m:

• -ostano &illiam V. 1992. Reading the "oies: Twele Great 1il!s on -ideo and

.ow to Teach The!. Urbana IL: F-T.

+on6t be mislead b# the title this boo' does much more than help us teach twel*e

)ilms8 the )irst hal) o) it s#nthesies a lot o) the in)ormation contained in a number o) the

ecellent boo's on )ilm stud# including the tets listed abo*e but he does it )or annglish teacher audience not )or )ilm scholars. The second hal) then is where he gi*es a

brie) anal#sis o) the suggested )ilms along with great resources and suggested acti*ities.

&hile I belie*e that much o) the material is directed to college$le*el students I see man#applications to high school and e*en middle school students.

• Teasle# "lan 4. and "nn &ilder. 199E. Reel Conersations: Reading 1il!s with

%oung Adults. ortsmouth F>: 4o#ton;-oo' ublishers.

I had been using )ilm in m# classroom )or awhile when this boo' was gi*en to me

b# a district super*isor and it changed m# thin'ing in so man# wa#s. %irst the authors

reminded me that )ilm is about more than 3ust the cinematic techniHues that a directoruses. To )orget about the theatrical and literar# aspects which I had is to lose much o) a

)ilm6s power to a))ect its audience. The# also include some great wa#s to teach genre to

students which ob*iousl# has so man# parallels to teaching literature. "nd last the# didso much legwor' )or us b# putting together lists o) possible )ilms in 3ust about e*er#

concei*able categor#. Ver# readable and a wonder)ul resource.

''s a5'ut ilmmaing$

In the same wa# that reading boo's about the cra)t o) writing can o))er insight into the

anal#sis o) literature reading boo's designed )or the beginning )ilm director has taught

me a tremendous amount about )ilm theor# and practice.• -antine 5ohn Susan >oward and 4rad# Lewis. 199B. Shot 4y Shot: A +ractical

Guide to 1il!!aking . ittsburgh ": ittsburgh %ilmma'ers.

" little poc'et sied guide to the lenses )ilm stoc' and lighting in)ormation

directors need this tet also contains worthwhile in)ormation on editing sound and shotcomposition.

• >armon /enee. 199@. The 4eginning 1il!!aker3s Guide to Directing . Few Gor':

&al'er and -ompan#.

")ter reading this boo' I dare #ou not to be tempted to pic' up a *ideo camera

and start shooting the net great (scar winner. It is *er# eas# to read and understand. In

addition to using her *er# help)ul charts on camera placement and lighting I ha*e ta'ensome o) her ideas about screenpla# writing and )ilm budgets to use in a culminating )ilm

pro3ect.

• incus dward and Ste*en "scher. 19D,. The 1il!!aker3s .andbook . Few Gor':

enguin 4oo's.

&a# more than probabl# #our a*erage )ilmma'er needs to 'now about

)ilmma'ing so it6s barel# on our radar charts but I ha*e learned a lot about thetechnolog# behind the mo*ies )rom this boo'. %or our purposes it contains a worthwhile

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