General Viewing Guide Note: the following information will b e specific to individual titles, but may b e helpful for the teacher to consider when p lanning showing the film. Year – Genre Rating: Language Duration in minutes, Colour Based on… ( if applicable) Possible Educational Connections Literacy: • A visual representation of a literary p iece, comparison to text; • Study of genre, p lot structure, s etting, character d evelopment, themes; • Media study, adaptations of literary d evices to film; • Literary terminology. Science: • Use of film to present issues or topics for discussion or study (i.e., Global Climate Change); • To critically analyze the information presented. Social Studies, History, Geography: • View and discuss a representation of a p hysical or human geography concept; • Help to d evelop an understanding of a historic p eriod or event; • Provide a visual frame of reference for s tudy of culture; • Focal point for discussion of b ias, point-‐of-‐view, and propaganda. Physical Education and Health: • Use of film to present issues or topics concerning h ealth and wellness; • Present topics of competition, sportsmanship and other character traits in sport, appropriate role models; • Familiarize students with aspects of a game or sport. The Arts: • Creation of tableaux d epicting scenes from the movie; • Analysis of movement and a esthetic qualities (i.e., lighting, sound, s et d esign, score and costumes) of the film. Description
A general d escription of each film may b e found on the learning360.com website. Benefits of t he Movie The students will have a variety of learning styles. The use of film in the classroom a llows the teacher to engage some students whose learning styles are more visual/auditory in nature, while possibly aiding in retention, understanding and consolidation for the other students in the class. There are advantages and disadvantages of telling a s tory via the medium of film versus that of text. A writer may paint a p icture with words, and d epend on the reader’s imagination to “paint the picture,” while the director of a movie has the ability to use a variety of sound and visual techniques (i.e., sound and visual effects, camera angles, costume, lighting, etc.) . The visual nature of film allows students to “experience” unfamiliar situations that may b e d ifficult to imagine in text form. For example, it could help a student see a nd h ear how life would have been like in a medieval village. From that p oint on, that film would be a mental reference point for the student for the rest of a medieval unit. Films and s tories in text tend to follow s imilar plot structure, and provide the opportunity to study genre, themes and imbedded messages, as well as setting and character d evelopment. When a film is based on a book, the movie can serve as either an introduction, a review of the story, or consolidation of the themes discussed through the unit of study. The process of comparing and contrasting a film and the writing it was based upon is a lso valuable to students’ learning. “Students’ repertoire of communication s kills should include the ability to critically interpret the messages they receive through the various media and to use these media to communicate their own ideas effectively as well.” (http://www.edu.gov.on.ca/eng/curriculum/elementary/language18currb.pdf, p 14) Possible Problems It is important that the teacher b e familiar with a film before showing it to his or h er class. There are several areas to consider: s ex and nudity; violence and gore; profanity; alcohol, drugs and s moking; and frightening or intense s cenes. While the film’s rating can be a general guideline, the teacher may b e aware that student may be p ersonally s ensitive to a theme or a s cene in the film. The teacher’s judgment is critical. Director, Producer, N arrator Awareness of the d irector or producer of the film may help teacher assess the suitability of the film, or lead the teacher to discuss the techniques they typically employ. Some films may not use a narrator, while others use narrators to deliver a point of view. Helpful Background
It is important that the teacher is aware of how the films fits into the current unit of study, and have a vision of how to use it to enhance students’ learning. Relevant V ocabulary* Plot: The events that make up a story, particularly as they relate to one another in a pattern, in a sequence, through cause and effect, how the reader views the s tory, or simply by coincidence. Setting: In works of narrative (especially fictional), the setting includes the h istorical moment in time and geographic location in which a s tory takes p lace, and h elps initiate the main backdrop and mood for a story. Characterization: The art of creating characters for a n arrative, including the process of conveying information about them. It may b e employed in dramatic works of art or everyday conversation. Characters may b e presented b y means of d escription, through their actions, speech, or thoughts. Protagonist: The main character of a work of fiction is typically called the protagonist. Antagonist: the character against whom the protagonist struggles or contends ( if there is one), is the antagonist. Climax: The turning point of a narrative work; its p oint of highest tension or drama or when the action starts in which the solution is given. Resolution: The resolution, or d énouement, comprises events b etween the falling action and the actual ending s cene of the drama or narrative and thus s erves as the conclusion of the story. Foley: is a term that d escribes the process of live recording of sound effects that are created b y a Foley artist, which are added in p ost-‐production to enhance the quality of audio for films, television, video, video games and radio. (http://en.wikipedia.org/wiki/Foley_(filmmaking)) Director: A film director is a p erson who directs the actors and film crew in filmmaking. They control a film's artistic and dramatic aspects, while guiding the technical crew and actors. (http://en.wikipedia.org/wiki/Director_(film)) Producer: A film producer oversees and d elivers a film project to the film studio or other financing entity, while preserving the integrity, voice and vision of the film. (http://en.wikipedia.org/wiki/Producer_(film)) Screen Writer: Screenwriters or scriptwriters or s cenario writers are writers who practise the craft of screenwriting, writing screenplays on which mass media such as films, television programs, comics or video games are based. (http://en.wikipedia.org/wiki/Screenwriter) Narrator: a person who gives an account or tells the story of events, experiences, etc.; a p erson who adds spoken commentary to a film, television program, slide show, etc.
Genre: a class or category of artistic endeavor having a particular form, content, technique, or the like: the genre of epic poetry; the genre of s ymphonic m usic. Editing: The term editing refers to the changing shots within a piece of film. The speed with which this happens has important role in creating atmosphere. For instance, if there is a car chase on screen, the editing will be rapid, making us excited. A countryside picnic scene, on the other hand, will probably feature slow editing, we relax and take in the details on the screen.
(http://www.filmeducation.org/staffroom/film_in_the_classroom/film_language/) Score: A film score (also sometimes called background music or incidental music) is original music written specifically to accompany a film. The score forms part of the film's soundtrack, which a lso usually includes dialogue and sound effects, and comprises a number of orchestral, instrumental or choral pieces called cues which are timed to b egin and end at specific p oints during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question. (http://en.wikipedia.org/wiki/Film_score) Shot Type: Long shot -‐ shows background, establishes where you are; Mid shot — shows torso and s ome background; Close-‐up — h ead and shoulders, usually u sed to show emotion. Draws our attention to face or object; Point-‐of-‐view shot -‐ h elps us to s ee the action from a character’s viewpoint and thus empathize with them; High angle shot -‐ camera looks down on p erson/object, making them look vulnerable; Low angle shot -‐ camera looks up a t someone/thing, making them appear powerful. (http://www.filmeducation.org/staffroom/film_in_the_classroom/film_language/) Mise en Scene: This term is used in film to describe what is in the frame and why. There are s everal areas to consider when talking about mise en scene: s etting and props; costume and make-‐up; body language and facial expression; lighting and colour. (http://www.filmeducation.org/staffroom/film_in_the_classroom/film_language/) Title Graphics: The way in which the title and credits of a film are written and the colours chosen for both them and the background tell us what type (genre) of film to expect. A horror film might employ a red Gothic font, whereas a s cience fiction film may use a bright green colour on a black background. (http://www.filmeducation.org/staffroom/film_in_the_classroom/film_language/) Animation: the rapid display of a sequence of images to create an illusion of movement. The most common method of presenting animation is as a motion picture or video program, a lthough there are other methods. (http://en.wikipedia.org/wiki/Animation) Camera Movement: In the same way that framing can be used to enhance our involvement in the film action, the way in which a camera is moved can b e used to d irect our a ttention to emphasize a particular viewpoint. Camera movements include: Panning shot where the camera moves slowly across from s ide to side from a fixed a xis; Tilt shot, where the camera moves up and down from a fixed a xis; Crane shot where the camera, mounted on a crane, moves around at a distance above ground level; Tracking shot where the camera follows the action, moving a long tracks laid for that purpose, often pulling backwards from a s cene; Hand held – this technique is often used to suggest a greater s ense of authenticity, for example it could b e used to be used to provide ‘eye witness’ a ccounts of situations, linked to the point of view of a particular character or characters (http://www.filmeducation.org/staffroom/film_in_the_classroom/film_language/)
* All d efinitions are found on http://en.wikipedia.org/wiki/Literary_terms, unless indicated otherwise. Big Idea The big idea, from the filmmaker’s point of view, is the message that they intend to d eliver via the film. From the educator’s point of view, it is the message they wish to exploit in order to introduce or reinforce concepts or information. Essential Understandings • What are the specific concepts or expectations that teachers hope will be addressed b y this film? Essential Questions • The intent of essential questions is to lead s tudents to make “text to world” and “text to self” connections as they view the film, and during post-‐viewing d iscussion and analysis. Previewing Questions: to be discussed or answered before viewing the film Previewing questions should b e used as a “minds-‐on” s trategy to stimulate s tudents’ interest and to focus their attention toward their thoughts and predictions of the film’s themes and content. Some of the potential d iscussion and questions should include: 1. Predications or inferences based on hints provided through the title, front and back of the DVD case, brief synopsis, etc.; 2. Brainstorming of prior knowledge of subject matter or time p eriod; 3. Making a nd sharing p ersonal connections related to the film’s “big idea” and general content; 4. Sharing of teacher-‐generated cues, or “watch-‐fors,” to focus students’ a ttention while watching the film. Post Viewing Questions: t o be discussed or answered after viewing the film The post-‐viewing d iscussion and questions should b e u sed for consolidation of their understanding of the film’s theme, content, events and characterization. Some of the potential d iscussion and questions could include: 1. Discussion of the accuracy of their previous predictions;
2. Thoughts, feelings or reactions to plot, characterization, themes, messages and ideas in the film; 3. Discussion of the film’s use of other literary d evices (i.e., mood, irony, s ymbolism, point-‐of-‐view, conflict, a llegory, etc); 4. Students’ critiques concerning the effectiveness of the film’s theatrical and cinematic d evices and effects. For more ideas on discussion questions, a ccess the teachwithmovies.com worksheet on the learn360.com website. .com g Guide to the Assignments, Projects, or Activities Effective follow-‐up activities and assignments will a ddress a variety of student learning styles. The activities could focus concepts related to the film, the film’s p lot line, its content, or the d ecisions of its producer and d irector. These could include: 1. Comparison of the film to the original text ( if one exists), or to other media or print texts; 2. Arts-‐related activities (i.e., dramatic re-‐enactments; movie posters; responses to the musical score; and creative movement, etc.); 3. Writing (i.e., researching background information; changing p lot lines; writing a lternate endings; adding or removing characters or events); 4. Reading ( i.e., reading a text version of the film or related materials and making connections between them); 5. Media (i.e., creating advertisements, trailers, brochures, or mock interviews, etc.) 6. Science, Social Studies, History, and Geography ( i.e., d ebates; maps; choice of filming location; analysis of s cientific, historical or cultural contexts and issues, etc.) Bibliography http://dictionary.reference.com/browse/genre http://www.edu.gov.on.ca/eng/curriculum/ http://www.filmeducation.org/staffroom/film_in_the_classroom/film_language/ http://teachwithmovies.com http://web.cn.edu/kwheeler/lit_terms_C.html#character_anchor http://wikipedia.org h ttp://en.wikipedia.org/wiki/Index_of_literary_terms
