Introduction - West Ada School District...mise-en-scene story/plot scene sequence ... Students will...

1 | Updated December, 2013

The Literature of Film

Introduction

This one-semester, elective credit class is designed to engage students in

the relationship that exists between literature and film. Students will study basic

film history, vocabulary and production, and compare and contrast literary

elements with film elements. The culminating project is to create a film short

applying knowledge of learned material, so access to video recording and

editing equipment is critical.

Since this class can be taken for humanities or English elective credit,

three sets of standards are addressed in this class: 11th grade Language Arts

Content Standards designated by the letters “LA”, 9-12 Speech

Communications Content Standards designated by the word “Speech”, and 9-

12 Visual Arts Humanities standards designated by the letters “V.A.”

Teachers must follow district policy regarding showing films and film clips.

The films mentioned in this curriculum are suggestions only and must be

approved for use at the building level.


Meridian School District’s Policy 602.1 regarding Curriculum & Learning Resources

clarifies the use of audio-visual resources, including film, in class:

MULTI-MEDIA LEARNING RESOURCES:

Audio visual materials (district owned, building-owned, teacher-owned, rented or

delivered electronically) include, but are not limited to, videos (i.e. YouTube), films,

television programs, and other media. Audio-visual materials are not to be shown unless

they are directly related to the district curriculum, are necessary to complete the lesson

plan, and all copyright laws are followed. When used according to this standards, only

excerpts of audio-visual materials are to be shown. As outlined below, some films or

videotapes would need pre-approval by a building administrator. If a video is used in its

entirety then it must be pre-approved.

Video materials rated:

G/TV-Y/TV-G: can be shown at all levels

PG/TV-PG/TV-Y7/TV-Y7FV: can be shown at all levels, but pre-approved at elementary

PG-13/TV-14: can only be shown at the secondary levels, but must be pre-

approved for students under the age of 13

R/TV-MA: cannot be shown at any time at any level in the schools

NC-17: cannot be shown at any time at any level in the schools

Un-rated: can be shown at all levels if they are instructional and have

been produced for educational use, purchase and/or

distribution, and have been pre-approved.

The rating assigned to a video tape or film should be a guide as to whether student

viewing is appropriate, regardless of the content. If appropriateness is uncertain a

teacher should seek counsel and approval from the building administrator.

Unit 1 Unit 2 Unit 3 Unit 4 Unit 5 Unit 6

Birth of Film The

Construction

of Moving

Images

Film Genres

The

Archetypal

Film

Character

and Plot

Treatment

and Screen

Writing

Creation

pp. 3-6 pp. 7-10 pp. 11-15 pp. 16-20 pp. 21-25 pp. 26-30


Grades 11-12 Unit 1

Birth of Film: Movie Pictures

that Tell a Story

“I had no idea of the character. But the moment I was

dressed, the clothes and the make-up made me feel the

person he was. I began to know him, and by the time I

walked onto the stage he was fully born.”

--Charlie Chaplin

OVERVIEW This unit introduces students to film, including the early history of film. Students will

learn key vocabulary related to film and film history, and examine what they

already know about film and how they have been taught to view film. Students

will create their own home movies and share them as narratives. Finally, students

will build a zoetrope and use it to create a film in the style of the first films ever

created.

ENDURING UNDERSTANDINGS Film is an optical phenomenon known as Persistence of Vision.

Students know more about film than they realize as they have been taught to view

films passively in understood fashion.

GUIDING QUESTIONS How does film begin as a “toy or amusement”?

How do you understand Narrative?

STUDENTS WILL KNOW AND UNDERSTAND auteur

diegesis

editing

flashback

flashforward

focus

genres

mise-en-scene

story/plot

scene sequence

shot

zoetrope

camera obscura

Camera Obscura—Dark room or chamber.

Cameras project an inverted reproduction.

How to interpret basic images.

Early film history

Persistence of Vision

How to view a film

Film as Art vs. Toy or Amusement

http://www.csmonitor.com/var/ezflow_site/storage/images/media/content/2012/chaplin6-10-02/13959007-1-eng-US/Chaplin6-10-02_full_600.jpg


STUDENTS WILL BE ABLE TO

IDAHO CONTENT STANDARDS: GRADE 9-12: HUMANITIES: THEATRE

Standard 1: Historical and Cultural Contexts

Goal 1.2: Explain the interrelationships among the visual and performing arts

disciplines.

9-12.T.1.2.1 Create works that integrate processes and concepts of other art forms.

Standard 2: Critical Thinking

Goal 2.1: Conduct analyses in theatre.

9-12.T.2.1.1 Develop and use theatre vocabulary to critique dramatic performances

or written plays.

9-12.T.2.1.4 Evaluate how well the text or production met its intended objectives.

Standard 3: Performance

Goal 3.1: Identify concepts essential to theatre.

9-12.T.3.1.4 Utilize theatrical terminology in appropriate settings.

Goal 3.2: Communicate through theatre, applying artistic concepts, knowledge,

and skills. 9-12.T.3.2.2 Construct imaginative scripts that convey story and meaning to an

audience.

Goal 3.3: Communicate through theatre with creative expression.

9-12.T.3.3.4 Create a dramatic work that expresses personal understanding, opinions,

and beliefs.

IDAHO CONTENT STANDARDS: GRADE 9-12: HUMANITIES: VISUAL ARTS


Goal 1.1: Discuss the historical and cultural contexts of the visual arts.

9-12.VA.1.1.1 Identify representative visual works of art from a variety of cultures and

historical periods.

9-12.VA.1.1.2 Outline the history and function of a particular visual art form (film).

9-12.VA.1.1.3 Compare and contrast the historical, social, and environmental contexts

that influence artistic expression.


Goal 2.1: Conduct analyses in the visual arts.

9-12.VA.2.1.1 Develop and present basic analyses of works of visual art from structural,

historical, and cultural perspectives.


Goal 3.1: Demonstrate skills essential to the visual arts.

9-12.V.A.3.1.2 Demonstrate proper use, care, and storage of media, materials and

equipment.


Speaking and Listening

Comprehension and Collaboration

SL.11-12.1 1. Initiate and participate effectively in a range of collaborative discussions

(one-on-one, in groups, and teacher-led) with diverse partners on grades

11–12 topics, texts, and issues, building on others’ ideas and expressing

their own clearly and persuasively.

SL.11-12.1.a Come to discussions prepared, having read and researched material

under study; explicitly draw on that preparation by referring to evidence

from texts and other research on the topic or issue to stimulate a

thoughtful, well-reasoned exchange of ideas.

SL.11-12.1.b Work with peers to promote civil, democratic discussions and decision-

making, set clear goals and deadlines, and establish individual roles as

needed.

SL.11-12.1.c Propel conversations by posing and responding to questions that probe

reasoning and evidence; ensure a hearing for a full range of positions on

a topic or issue; clarify, verify, or challenge ideas and conclusions; and

promote divergent and creative perspectives.

SL.11-12.1.d Respond thoughtfully to diverse perspectives; synthesize comments,

claims, and evidence made on all sides of an issue; resolve contradictions

when possible; and determine what additional information or research is

required to deepen the investigation or complete the task.

SL.11-12.2 2. Integrate multiple sources of information presented in diverse formats and

media (e.g., visually, quantitatively, orally) in order to make informed

decisions and solve problems, evaluating the credibility and accuracy of

each source and noting any discrepancies among the data.

SL.11-12.3 Evaluate a speaker’s point of view, reasoning, and use of evidence and

rhetoric, assessing the stance, premises, links among ideas, word choice,

points of emphasis, and tone used.

Language

Vocabulary Acquisition and Use

L.11-12.6.a Acquire and use accurately general academic and domain-specific

words and phrases, sufficient for reading, writing, speaking, and listening

at the college and career readiness level; demonstrate independence in

gathering vocabulary knowledge when considering a word or phrase

important to comprehension or expression.

SUGGESTED WORKS SUGGESTED MATERIALS (May vary by building):

A Short History of the Movies, pages 9-25 (It is up to individual schools to purchase

this book—it is a supplementary resource, not a formally adopted textbook)

DIGITAL CONTENT

Media

“Exiting the Factory (1895) - 1st Projected Film - LOUIS LUMIERE -…”: http://youtu.be/BO0EkMKfgJI

“Feeding the Baby - Lumiere Brothers (1895)”: http://youtu.be/qZ2mLwv7pOM

http://youtu.be/BO0EkMKfgJI

http://youtu.be/qZ2mLwv7pOM


“How to Create a Zoetrope”: http://youtu.be/eHmSG1j7hXM

“Race Horse First Film Ever 1878 Eadweard Muybridge”:

http://youtu.be/IEqccPhsqgA

Fred Ott’s Sneeze [see Library of Congress American Memory

http://memory.loc.gov/ammem/index.html to search for digital files of this film]

or “Edison Kinetoscopic Record of a Sneeze, Jan. 7, 1894”:

http://youtu.be/2wnOpDWSbyw

The Film “The Kiss” [see Library of Congress American Memory

http://memory.loc.gov/ammem/index.html to search for digital files of this film] or

“The Kiss (1896)”: http://youtu.be/sw_tdnedONc

SAMPLE ACTIVITIES AND ASSESSMENTS ACTIVITIES

1. LEAPING HORSE (9-12.VA.1.1.1. 9-12.VA.1.1.2, 9-12.VA.1.1.3, 9-12.VA.2.1.1, SL.11-

12.3) View Eadweard Muybridge (1882) Leaping Horse (sequence of

photographs viewed with a zoetrope, a photographic precursor to modern film)

2. SILENT MOVIE (9-12.T.2.1.4, 9-12.VA.3.1.1, 9-12 VA.3.1.1, 9-12.V.A.3.1.2, 9-12.T.3.2.2,

9-12.T.3.3.4): Create and show a “silent” movie.

3. SILENT MOVIE DISCUSSION (SL.11-12.1, SL.11-12.1a, SL.11-12.1b, SL.11-12.1c, SL.11-

12.1.d, SL.11-12.2, SL.11-12.3): Discuss how home “silent” movies “capture

moments” and tell a narrative.

4. ZOETROPE (9-12.T.1.2.1, 9-12 VA.3.1.1, 9-12 VA.3.3.1): Create a zoetrope and use it

to create a basic “movie” (can be a flip coin movie).

5. KEY VOCABULARY (9-12.T.2.1.1, 9-12.T.3.1.4, L.11-12.6.a): Define and use key

vocabulary.

PERFORMANCE ASSESSMENT

(same as above)

SILENT MOVIE (9-12.T.2.1.4, 9-12.VA.3.1.1, 9-12.V.A.3.1.2, 9-12 VA.3.3.1, 9-12.T.3.2.2, 9-

12.T.3.3.4): Create a silent home movie designed to tell a story. Show the film to class

and discuss the story the film tells.

ZOETROPE (9-12.T.1.2.1, 9-12 VA.3.1.1, 9-12 VA.3.3.1): Using a zoetrope, create a flip coin

or other “motion picture.”

http://youtu.be/eHmSG1j7hXM

http://youtu.be/IEqccPhsqgA

http://memory.loc.gov/ammem/index.html

http://youtu.be/2wnOpDWSbyw

http://memory.loc.gov/ammem/index.html

http://youtu.be/sw_tdnedONc


Grades 11-12 Unit 2

The Construction of

Moving Images:

Technique, Purpose and

Audience

"I'll get you, my pretty...and your little dog too! Ah ha ha ha ha ha!"

--Margaret Hamilton

From: The Wizard of Oz (1939)

OVERVIEW This unit examines the mechanics of film, including camera angles, lighting, framing,

scale, and editing techniques. Every carefully selected film technique —aesthetics—is

used to achieve a greater purpose or effect of influencing the audience.

Students will compare and contrast film clips, view trailers, advertisements,

propaganda, and news reports discussing how the mechanics or “technique” of

filmmaking, coupled with content, creates a complete purpose.

ENDURING UNDERSTANDINGS Images have meaning.

The “artful” construction of images tells a story (narrative).

Film techniques are used in other media to influence and persuade/manipulate

viewers to a specific conclusion, often without the viewer’s conscious

understanding.

GUIDING QUESTIONS How are “moving pictures” made and to what effect(s)?

What are the building blocks of film?

What are different kinds of film techniques?

How are these techniques used to influence a viewer?

How can these techniques be used subliminally?

STUDENTS WILL KNOW AND UNDERSTAND Advertising

Propaganda

News Reports

The Mechanics of Film

Film Trailers

1. Realism and Formalism

Cinematography

o Quality: color, contrast, deep focus, shallow

focus, depth of field, exposure, racking focus,

rate, telephoto shoot, zoom shot

o Framing: angle of framing, aspect ratio, level

of framing, canted framing, flowing shot,

reframing, point-of-view shot


o Scale: extreme longshot, longshot, medium

longshot, medium close-up, close-up, extreme

close-up

o Movement: crane shot, handheld camera,

steadycam, pan, tilt, tracking shot, whip pan

Devices

o Transitions: cheat cut, cross-cutting (aka parallel

editing), cut-in, cut away, dissolve, iris, jump shot,

establishing shot/reestablishing shot, shot/reverse

shot, superimposition, wipe

o Matches: eye line match, graphic match, match

on action

o Duration: Long take (aka plan-sequence),

overlapping editing, rhythm

Styles

o Continuity editing, montage, elliptical editing,

overlapping editing, rhythm

2. Types of film shots

3. Types of camera Angles

4. Basic lighting information for film

5. How the use of color influences the tone and mood of

film.

6. How to examine logic and detect bias in text.

7. How to organize and interpret information to draw

logical conclusions.




disciplines.

9-12.T.1.2.2 Analyze how other art forms contribute to a dramatic performance.



9-12.T.2.1.1 Develop and use theatre vocabulary to critique dramatic performances

or written plays.

9-12.T.2.1.3 Analyze the central action of the play and discuss its cause and effect.


Goal 2.2: Engage in reasoned dialogue and make decisions about dramatic

performances.

9-12.T.2.2.1 Describe and defend one's critique of a dramatic performance.



9-12.T.3.1.3 Analyze theatrical elements of a dramatic performance.


9-12.T.3.1.4 Utilize theatrical terminology in appropriate settings.


Goal 1.2: Discuss the interconnections between visual arts and societies.

9-12. VA.1.2.1 Compare art forms that share common characteristics


9-12.VA.2.1.3 Critique works of art employing appropriate arts vocabulary.

9-12.VA.2.1.5 Analyze an artist’s use of elements, principles, and how they contribute

to one’s interpretation of the artwork.

Goal 2.2: Exercise sound reasoning and understanding in making choices in the

visual arts. 9-12.VA.2.2.2 Discuss the nature of art or aesthetic issues.

Reading: Literature

Integration of Knowledge and Ideas

RL.11-12.7 Analyze multiple interpretations of a story, drama, or poem (e.g.,

recorded or live production of a play or recorded novel or poetry),

evaluating how each version interprets the source text. (Include at least

one play by Shakespeare and one play by an American dramatist.)


Presentation of Knowledge and Ideas

SL.11-12.4 Present information, findings, and supporting evidence, conveying a clear

and distinct perspective, such that listeners can follow the line of

reasoning, alternative or opposing perspectives are addressed, and the

organization, development, substance, and style are appropriate to

purpose, audience, and a range of formal and informal tasks.

Language


L.11-12.6.a Acquire and use accurately general academic and domain-specific

words and phrases, sufficient for reading, writing, speaking, and listening

at the college and career readiness level; demonstrate independence in

gathering vocabulary knowledge when considering a word or phrase

important to comprehension or expression.




DIGITAL CONTENT

Websites

Museum of Modern Art: www.moma.org (requires a free login)

Yale Film Studies: http://classes.yale.edu/film-analysis/\

http://www.moma.org/

http://classes.yale.edu/film-analysis/


Visual Literacy: How do I make meaning: Camera shots:

http://portals.studentnet.edu.au/literacy/Minisites/SCEGGSDarlinghurstrevised/vlit

eracy/shots.htm


1. CAMERA ANGLES (9-12.VA.2.1.5,): View various camera angles, shots and

techniques and from the Yale Web site: http://classes.yale.edu/film-analysis/

2. KEY VOCABULARY (9-12.T.2.1.1, 9-12.T.3.1.4, L.11-12.6.a): View and discuss key

vocabulary as it applies to Chaplin’s films: The Kid, City Lights, Modern Times

3. ANALYZE POTEMKIN (9-12.T.2.1.3, 9-12.T.2.1.4, 9-12.VA.2.1.5, 9-12.T.2.2.1, 9-

12.T.3.1.3): View, analyze and discuss the editing of the Odessa steps sequence

in the Sergei Eisenstein film Potemkin (for more information, search:

www.moma.org using the key words: Potemkin, Eisenstein)

4. ANALYZE INFLUENTIAL TECHNIQUES (9-12.VA.2.1.3, 9-12.VA.2.1.5): View media

from film trailers, newscasts, advertisements, and propaganda analyzing the

techniques used to influence the intended audience

5. TYPES OF FILMS (9-12.VA.2.2.2 ): Identify the types of film shots from selected film

clips


Purpose:

Students will discuss the nature of art or aesthetic issues

Targets:

1. TYPES OF COMPOSITION (9-12.VA.2.2.2, SL.11-12.4): Identify and explain the types

of composition from the films: Early film Meles’ The Trip to the Moon.

2. TO KILL A MOCKINGBIRD CREDITS (9-12.T.1.2.2, 9-12. VA.1.2.1, RL.11-12.7, SL.11-

12.4): View the opening credit sequence to To Kill a Mockingbird. How does this

montage sequence tell the story of the novel?

http://portals.studentnet.edu.au/literacy/Minisites/SCEGGSDarlinghurstrevised/vliteracy/shots.htm

http://portals.studentnet.edu.au/literacy/Minisites/SCEGGSDarlinghurstrevised/vliteracy/shots.htm

http://classes.yale.edu/film-analysis/

http://www.moma.org/


Grades 11-12 Unit 3

Film Genres: Categorizing

Film by Type

“Courage is being scared to death, but saddling up

anyway.”

― John Wayne

OVERVIEW This unit allows students to examine the different genres of film, identifying the major

characteristics of each. Students will view film clips from various genres, and view clips

of the same genre from different historical time periods to examine how genres have

changed over time.

Finally, students will compare a film from a particular genre to its literary counterpart to

examine the relationship between film and literature.

ENDURING UNDERSTANDINGS Films, like literature, can be organized by type.

GUIDING QUESTIONS What are the types or genres of feature films?

What are defining characteristics that film types share?

How are the lines blurred between genres to create sub-genres?

STUDENTS WILL KNOW AND UNDERSTAND Action-Adventure

Westerns

Comedy

Film Noir

Drama

Suspense

Musical

Science Fiction

Horror

Literary genres as a basis for film genre study

(including fiction, nonfiction and drama)

The different types of film genres.




Goal 1.1: Explain the historical and cultural contexts of theatre.

9-12.T.1.1.1 Identify representative dramatic works from a variety of cultures and

historical periods.


disciplines.


http://www.goodreads.com/author/show/45481.John_Wayne








9-12.VA.1.1.1 Identify representative visual works of art from a variety of cultures and

historical periods [through the study of film].

9-12.VA.1.1.3 Compare and contrast the historical, social, and environmental contexts

that influence artistic expression.

Goal 1.2: Discuss the interconnections between visual arts and societies.

912.VA.1.2.2 Analyze a visual art product or art performance that integrates media,

processes, and or concepts from other performing arts disciplines

9-12.VA.1.2.3 Relate the trends and movements in visual art to other disciplines in the

arts and humanities


visual arts.

9-12.VA.2.2.4 Demonstrate appropriate behavior while attending and/or participating

in arts events.

Reading: Literature


RL.11-12.7 Analyze multiple interpretations of a story, drama, or poem (e.g.,




RL.11-12.9 Demonstrate knowledge of eighteenth-, nineteenth- and early-

twentieth-century foundational works of American literature, including

how two or more texts from the same period treat similar themes or

topics.

Writing

Text Types and Purposes W.11-12.2 Write informative/explanatory texts to examine and convey complex

ideas, concepts, and information clearly and accurately through the

effective selection, organization, and analysis of content

W.11-12.2.a Introduce a topic; organize complex ideas, concepts, and information

so that each new element builds on that which precedes it to create a

unified whole; include formatting (e.g., headings), graphics (e.g., figures,

tables), and multimedia when useful to aiding comprehension.

W.11-12.2.b Develop the topic thoroughly by selecting the most significant and

relevant facts, extended definitions, concrete details, quotations, or


other information and examples appropriate to the audience’s

knowledge of the topic.

W.11-12.2.c Use appropriate and varied transitions and syntax to link the major

sections of the text, create cohesion, and clarify the relationships among

complex ideas and concepts.

W.11-12.2.d Use precise language, domain-specific vocabulary, and techniques

such as metaphor, simile, and analogy to manage the complexity of the

topic.

W.11-12.2.e Establish and maintain a formal style and objective tone while attending

to the norms and conventions of the discipline in which they are writing.

W.11-12.2.f Provide a concluding statement or section that follows from and

supports the information or explanation presented (e.g., articulating

implications or the significance of the topic).

Production and Distribution of Writing

W.11-12.4 Produce clear and coherent writing in which the development,

organization, and style are appropriate to task, purpose, and audience.

(Grade-specific expectations for writing types are defined in standards

1–3 above.)

W.11-12.5 Develop and strengthen writing as needed by planning, revising, editing,

rewriting, or trying a new approach, focusing on addressing what is most

significant for a specific purpose and audience.

W.11-12.6 Use technology, including the Internet, to produce, publish, and update

individual or shared writing products in response to ongoing feedback,

including new arguments or information.

W.11-12.9 Draw evidence from literary or informational texts to support analysis,

reflection, and research.

Range of Writing



SL.11-12.1 3. Initiate and participate effectively in a range of collaborative discussions

(one-on-one, in groups, and teacher-led) with diverse partners on grades

11–12 topics, texts, and issues, building on others’ ideas and expressing

their own clearly and persuasively.







needed.


reasoning and evidence; ensure a hearing for a full range of positions on

a topic or issue; clarify, verify, or challenge ideas and conclusions; and

promote divergent and creative perspectives.



claims, and evidence made on all sides of an issue; resolve

contradictions when possible; and determine what additional

information or research is required to deepen the investigation or

complete the task.




DIGITAL CONTENT

Websites

“100 greatest musical films”:

http://www.imdb.com/list/2qQC6_ghan4/?start=1&view=compact&sort=release

_date_us:asc&defaults=1 (can be arranged by date)

“Action Movies Timeline”: http://worldhistoryproject.org/topics/action-movies

Allmovie: http://www.allmovie.com/genre/all (great list of genres and

subgenres. Links to no movies.)

“Brief Timeline of American Literature, Music, and Movies”:

http://public.wsu.edu/~campbelld/amlit/1920m.html

“List of Science Fiction Films”:

http://en.wikipedia.org/wiki/List_of_science_fiction_films

“Most Popular by Genre”: http://www.imdb.com/genre/

“The Best Romance Movies. A Never-Ending List.”:

http://www.imdb.com/list/EyelRUHC6Pw/?start=1&view=compact&sort=release_

date_us:asc&defaults=1 (can be arranged by date)

“The Legend of the Western Movie”: http://www.cinemacom.com/westerns.html

(Click on 500+ Good Westerns 1903-2012.) “Tracing the timeline of dance in film”:

http://www.eyeforfilm.co.uk/feature/2009-05-21-history-timeline-of-musical-

dance-films-feature-story-by-chris


1. GENRE DISCUSSION (SL.11-12.1, SL.11-12.1a, SL.11-12.1.b, SL.11-12.1.c, SL.11-12.1.d ):

View and discuss samples of each film genre.

2. GENRES OVER TIME (9-12.T.1.1.1 ): Trace the development of genres over time.

3. PAIRING FILM AND PRINT (9-12.T.1.2.2, 9-12.VA.1.1.3, 9-12.T.2.1.4, 9-12.VA.1.1.1,

912.VA.1.2.2, 9-12.VA.2.2.4, RL.11-12.7, RL.11-12.9, W.11-12.2, W.11-12..a, W.11-

12.2.b, W.11-12.2.c, W.11-12.2.d, W.11-12.2.e, W.11-12.2.f, W.11-12.4, W.11-12.5,

W.11-12.6): Compare/contrast a chosen film, such as To Kill a Mockingbird, to its

literary counterpart.

http://www.imdb.com/list/2qQC6_ghan4/?start=1&view=compact&sort=release_date_us:asc&defaults=1

http://www.imdb.com/list/2qQC6_ghan4/?start=1&view=compact&sort=release_date_us:asc&defaults=1

http://worldhistoryproject.org/topics/action-movies

http://www.allmovie.com/genre/all

http://public.wsu.edu/~campbelld/amlit/1920m.html

http://en.wikipedia.org/wiki/List_of_science_fiction_films

http://www.imdb.com/genre/

http://www.imdb.com/list/EyelRUHC6Pw/?start=1&view=compact&sort=release_date_us:asc&defaults=1

http://www.imdb.com/list/EyelRUHC6Pw/?start=1&view=compact&sort=release_date_us:asc&defaults=1

http://www.cinemacom.com/westerns.html

http://www.eyeforfilm.co.uk/feature/2009-05-21-history-timeline-of-musical-dance-films-feature-story-by-chris

http://www.eyeforfilm.co.uk/feature/2009-05-21-history-timeline-of-musical-dance-films-feature-story-by-chris



Purpose: Students will be able to categorize a film by genre, and compare it to its

literary counterpart.

Target:

1. FILM CRITIC (9-12.T.1.2.2, 9-12.VA.1.1.3, 9-12.T.2.1.4, 9-12.VA.1.1.1, 912.VA.1.2.2, 9-

12.VA.2.2.4, RL.11-12.7, RL.11-12.9, W.11-12.2, W.11-12..a, W.11-12.2.b, W.11-12.2.c,

W.11-12.2.d, W.11-12.2.e, W.11-12.2.f, W.11-12.4, W.11-12.5, W.11-12.6): You are a

film critic. Write an essay comparing and contrasting the film and the literary

work from which it is based. Compare and contrast the historical, social, and

environmental contexts that influence artistic expression. Analyze the quality of

both (example: To Kill a Mockingbird). Publish your essay by sharing it with the

class.


Grades 11-12 Unit 4

The Archetypal Film

Character and Plot: The

Hero with a Thousand

Faces

"Why, you speak treason!" --Olivia de Havilland.

"Fluently." --Errol Flynn.

--From “The Adventures of Robin Hood (1938)

OVERVIEW This unit examines the use of classic archetypes in film and why western culture is drawn

to each. Students will understand the characteristics that make up the archetype of the

hero and the hero’s journey. They will then view films that use these archetypes and

outline how well each film utilizes the archetype.

ENDURING UNDERSTANDINGS Feature films are archetypal in plot and character.

Feature films often use the hero’s journey as a plot archetype.

Feature films often use the classic hero as a character archetype.

Film is a kind of modern-day mythology.

GUIDING QUESTIONS Why is there a nearly universal and cross-cultural need for archetypes?

Is film being replaced by video games (inter-action) such as Tomb Raider?

What are the characteristics of the hero’s journey?

Why do we love (perhaps need) this heroic formula?

What are the characteristics of a classic hero?

Why is our culture drawn to a classic hero?

What is mythology?

How is film used to represent culture?

How is film used in our culture as mythological stories were used by the Ancient

Greeks and Romans?

Where does the difference between our use of storytelling through film and Ancient

Greek storytelling end?

STUDENTS WILL KNOW AND UNDERSTAND The Hero Archetype

The Hero’s Journey

Archetype

The definition of archetype

The archetype of the hero’s journey (see

http://www.mcli.dist.maricopa.edu/smc/journey/ref/su

mmary.html, http://orias.berkeley.edu/hero/)

Basic Greek mythology.

http://www.reelclassics.com/Actresses/deHavilland/dehav.htm

http://www.reelclassics.com/Actors/Flynn/flynn.htm

http://www.mcli.dist.maricopa.edu/smc/journey/ref/summary.html

http://www.mcli.dist.maricopa.edu/smc/journey/ref/summary.html

http://orias.berkeley.edu/hero/





Goal 1.1: Explain the historical and cultural contexts of theatre.

9-12.T.1.1.1 Identify representative dramatic works from a variety of cultures and

historical periods.

9-12.T.1.1.4 Describe and compare universal characters and situations in dramas

from various cultures and periods


disciplines.




Goal 2.2: Engage in reasoned dialogue and make decisions about dramatic

performances.

9-12.T.2.2.3 Compare and contrast modern drama with the theatre of earlier

periods.


and skills.

9-12.T.3.2.2 Construct imaginative scripts that convey story and meaning to an

audience.

9-12.T.3.2.3 Interpret/perform a work respecting the intent of its creator.


9-12.T.3.3.4 Create a dramatic work that expresses personal understanding,

opinions, and beliefs.




9-12.VA.1.1.4 Compare and contrast aesthetics from different cultural perspectives.


9-12.VA.2.1.2 Construct meaning and support well-developed interpretations of works

of art with evidence.

9-12.VA.2.1.4 Identify iconography in an artist’s work or a body of work and analyze

the meaning.


visual arts.

9-12.VA. 2.2.1 Identify the role of the arts in today’s society, including career and

avocation opportunities.

9.12.VA.2.2.3 Articulate criteria for determining excellence in artwork.


9-12.VA.2.2.5 Show respect for personal work and work of others

Reading: Literature

Key Ideas and Details

RL.11-12.3 Analyze the impact of the author’s choices regarding how to develop

and relate elements of a story or drama (e.g., where a story is set, how

the action is ordered, how the characters are introduced and

developed).

Craft and Structure

RL.11-12.5 Analyze how an author’s choices concerning how to structure specific

parts of a text (e.g., the choice of where to begin or end a story, the

choice to provide a comedic or tragic resolution) contribute to its

overall structure and meaning as well as its aesthetic impact.


RL.11-12.7

Analyze multiple interpretations of a story, drama, or poem (e.g.,




Writing

Text Types and Purposes

W.11-12.3 Write narratives to develop real or imagined experiences or events using

effective technique, well-chosen details, and well-structured event

sequences.

W.11-12.3.a Engage and orient the reader by setting out a problem, situation, or

observation and its significance, establishing one or multiple point(s) of

view, and introducing a narrator and/or characters; create a smooth

progression of experiences or events.

W.11-12.3.b Use narrative techniques, such as dialogue, pacing, description,

reflection, and multiple plot lines, to develop experiences, events,

and/or characters.

W.11-12.3.c Use a variety of techniques to sequence events so that they build on

one another to create a coherent whole and build toward a particular

tone and outcome (e.g., a sense of mystery, suspense, growth, or

resolution).

W.11-12.3.d Use precise words and phrases, telling details, and sensory language to

convey a vivid picture of the experiences, events, setting, and/or

characters.

W.11-12.3.e Provide a conclusion that follows from and reflects on what is

experienced, observed, or resolved over the course of the narrative.




(Grade-specific expectations for writing types are defined in standards

1–3 above.)


W.11-12.5 Develop and strengthen writing as needed by planning, revising,

editing, rewriting, or trying a new approach, focusing on addressing

what is most significant for a specific purpose and audience.



SL.11-12.1 2. Initiate and participate effectively in a range of collaborative

discussions (one-on-one, in groups, and teacher-led) with diverse

partners on grades 11–12 topics, texts, and issues, building on others’

ideas and expressing their own clearly and persuasively.







needed.


reasoning and evidence; ensure a hearing for a full range of positions

on a topic or issue; clarify, verify, or challenge ideas and conclusions;

and promote divergent and creative perspectives.


claims, and evidence made on all sides of an issue; resolve

contradictions when possible; and determine what additional

information or research is required to deepen the investigation or

complete the task.

Language


L.11-12.5 Demonstrate understanding of figurative language, word relationships,

and nuances in word meanings.

L.11-12.5.a Interpret figures of speech (e.g., hyperbole, paradox) in context and

analyze their role in the text.




DIGITAL CONTENT

Media

“Great Books: Homer’s Odyssey”:

http://app.discoveryeducation.com/player/view/assetGuid/26EE7091-F098-

4C84-AC54-10BA664C5704

Hamlet (1948, Not Rated)

Hamlet (1996, PG-13)

Hamlet (2009, Not Rated, Royal Shakespeare Company Production)

O Brother Where Art Thou? (2000)

http://app.discoveryeducation.com/player/view/assetGuid/26EE7091-F098-4C84-AC54-10BA664C5704

http://app.discoveryeducation.com/player/view/assetGuid/26EE7091-F098-4C84-AC54-10BA664C5704


Star Wars (1977, PG)

The Lion King (1994, G)

The Odyssey (1997)

The Simpsons (Simpsons Do Hamlet: Season 13: Episode 14) (TV-14)

Toy Story (1995, G)

Ulysses (1955)


1. ARCHETYPE DISCUSSION (SL.11-12.1, SL.11-12.1.a, SL.11-12.1.b, SL.11-12.1.c, SL.11-

12.1.d): Discuss archetypes of heroes and the hero’s journey.

2. ARCHETYPES IN VARIOUS FILMS (9-12.T.1.1.1, 9-12.T.1.1.4, 9-12.T.1.2.1, 9-12.T.1.2.2, 9-

12.T.2.2.3, RL.11-12.7): View and identify archetypes in plot and character in various

films (Star Wars, Raiders of the Lost Ark, Rocky, Hercules [Disney version], Toy Story,

Disney films in general). Outline/chart archetypes in plot and character.

3. BUILDING ON AN ARCHETYPE (9-12.T.3.2.2, 9-12.T.3.2.3, 9-12.T.3.3.4, 9-12.VA.1.1.4, 9-

12.VA.2.1.2, 9-12.VA.2.1.4, 9-12.VA. 2.2.1, 9.12.VA.2.2.3, 9-12.VA.2.2.5, RL.11-12.3,

RL.11-12.5, RL.11-12.7, W.11-12.3, W.11-12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d,

W.11-12.3.e, W.11-12.4, W.11-12.5, L.11-12.5, L.11-12.5.a): Create a storyboard for

an original film that builds upon an archetype in character and/or plot.


Purpose: Students will critically analyze film for structure and character.

Targets:

FILM DIRECTOR (9-12.T.3.2.2, 9-12.T.3.2.3, 9-12.T.3.3.4, 9-12.VA.1.1.4, 9-12.VA.2.1.2, 9-

12.VA.2.1.4, 9-12.VA. 2.2.1, 9.12.VA.2.2.3, 9-12.VA.2.2.5, RL.11-12.3, RL.11-12.5, RL.11-12.7,

W.11-12.3, W.11-12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4,

W.11-12.5, L.11-12.5, L.11-12.5.a): You are a director who has been hired to direct the

next big action film that is based on a hero and a hero’s journey. Create a storyboard

for an original film that builds upon the hero/hero’s journey archetype in character and

plot.


Grades 11-12 Unit 5

Treatment and Screen

Writing: Films are Written

“ET phone home.”

-ET (Melissa Mathison, screenwriter)

OVERVIEW During this unit, students will learn how to use the writing process to create a treatment

and screenplay.

Students will read excerpts of screenplays and full screenplays from feature films in

preparation for writing their own treatment (prewriting) and screenplay for a scene.

Students will also present their treatment and screenplay to the class to “pitch” their

film.

ENDURING UNDERSTANDINGS Everything in film is created and planned: Films come from storyboarding; films

come from treatment(s); and films come from screenplays with a very specific

format.

GUIDING QUESTIONS What is the process of filmmaking from idea to screen?

What is a treatment?

What is the screenplay format?

STUDENTS WILL KNOW AND UNDERSTAND Writing Process

Imagination to Page

The Writing Process

How to apply the Writing Process and the

Communication Process.


IDAHO CONTENT STANDARDS: GRADE 9-12: HUMANITIES: THEATRE Goal 1.2: Explain the interrelationships among the visual and performing arts

disciplines.




and skills. 9-12.T.3.2.2 Construct imaginative scripts that convey story and meaning to an

audience.

http://www.google.com/imgres?q=Melissa+Mathison+q&safe=active&biw=1344&bih=738&tbm=isch&tbnid=Z4r1CRORZpnmiM:&imgrefurl=http://www.cinemalowdown.com/2012_10_01_archive.html&docid=55JDqkj73R4w3M&imgurl=http://3.bp.blogspot.com/-VMbR264dYKI/UH3MXfBjYBI/AAAAAAAACB4/JS4EgPKbGBc/s1600/e.t.+book+cover.jpg&w=249&h=299&ei=K-CMUpL3NJDAkQeatYDIBQ&zoom=1&ved=1t:3588,r:93,s:0,i:366&iact=rc&page=4&tbnh=170&tbnw=142&start=93&ndsp=35&tx=87&ty=89







Goal 3.2: Communicate through the visual arts, applying artistic concepts,

knowledge and skills. 9-12.VA.3.2.5

Create a body of work that develops a specific theme, idea, or style of

art.

Reading: Literature

Key Ideas and Details

RL.11-12.1 Cite strong and thorough textual evidence to support analysis of what the

text says explicitly as well as inferences drawn from the text, including

determining where the text leaves matters uncertain.

RL.11-12.2 Determine two or more themes or central ideas of a text and analyze

their development over the course of the text, including how they

interact and build on one another to produce a complex account;

provide an objective summary of the text.

RL.11-12.3 Analyze the impact of the author’s choices regarding how to develop

and relate elements of a story or drama (e.g., where a story is set, how

the action is ordered, how the characters are introduced and

developed).

Craft and Structure

RL.11-12.4 Determine the meaning of words and phrases as they are used in the text,

including figurative and connotative meanings; analyze the impact of

specific word choices on meaning and tone, including words with

multiple meanings or language that is particularly fresh, engaging, or

beautiful. (Include Shakespeare as well as other authors.)

RL.11-12.5 Analyze how an author’s choices concerning how to structure specific

parts of a text (e.g., the choice of where to begin or end a story, the

choice to provide a comedic or tragic resolution) contribute to its overall

structure and meaning as well as its aesthetic impact.

RL.11-12.6 Analyze a case in which grasping a point of view requires distinguishing

what is directly stated in a text from what is really meant (e.g., satire,

sarcasm, irony, or understatement).

Range of Reading and Level of Text Complexity RL.11-12.10 By the end of grade 11, read and comprehend literature, including

stories, dramas, and poems, in the grades 11–CCR text complexity band

proficiently, with scaffolding as needed at the high end of the range.

By the end of grade 12, read and comprehend literature, including

stories, dramas, and poems, at the high end of the grades 11–CCR text

complexity band independently and proficiently.


Writing




sequences.

W.11-12.3.a Engage and orient the reader by setting out a problem, situation, or





reflection, and multiple plot lines, to develop experiences, events, and/or

characters.

W.11-12.3.c Use a variety of techniques to sequence events so that they build on one

another to create a coherent whole and build toward a particular tone

and outcome (e.g., a sense of mystery, suspense, growth, or resolution).



characters.






(Grade-specific expectations for writing types are defined in standards 1–

3 above.)








Presentation of Knowledge and Ideas

SL.11-12.4 Present information, findings, and supporting evidence, conveying a clear

and distinct perspective, such that listeners can follow the line of

reasoning, alternative or opposing perspectives are addressed, and the

organization, development, substance, and style are appropriate to

purpose, audience, and a range of formal and informal tasks.

SL.11-12.5 Make strategic use of digital media (e.g., textual, graphical, audio, visual,

and interactive elements) in presentations to enhance understanding of

findings, reasoning, and evidence and to add interest.

SL.11-12.6 Adapt speech to a variety of contexts and tasks, demonstrating a

command of formal English when indicated or appropriate.


Language

Conventions of Standard English

L.11-12.1 Demonstrate command of the conventions of standard English grammar

and usage when writing or speaking.

L.11-12.1.a Apply the understanding that usage is a matter of convention, can

change over time, and is sometimes contested.

L.11-12.1.b Resolve issues of complex or contested usage, consulting references

(e.g., Merriam-Webster’s Dictionary of English Usage, Garner’s Modern

American Usage) as needed.

L.11-12.2 Demonstrate command of the conventions of standard English

capitalization, punctuation, and spelling when writing.

L.11-12.2.a Observe hyphenation conventions.

L.11-12.2.b Spell correctly.




Selections of the screenplay of North by Northwest

The screenplay of Butch Cassidy and the Sundance Kid

Selections from Syd Fields’ Screenplay—The Foundation of Screenwriting and

Linda Seger’s Making a Good Script (note: these books are not district-adopted

texts; teachers should use them as a resource for information)

www.screenwriting.info

http://www.screenwritersutopia.com

Teachers may find screenwriting lessons on youtube.com or google videos

DIGITAL CONTENT

Websites

“How to Write a Treatment”: http://www.movieoutline.com/articles/how-to-

write-a-treatment.html “Movie Scripts and Screenplays”: http://www.moviescriptsandscreenplays.com/

(Hundreds of Scripts at this side, including those for many popular movies) “Screenplay Format: A Guide to Industry Standard Script Formatting”:

http://www.movieoutline.com/articles/screenplay-format-a-guide-to-industry-

standard-script-formatting.html


1. EVALUATE SCREENPLAYS (RL.11-12.1, RL.11-12.2, RL.11-12.3, RL.11-12.4, RL.11-12.5,

RL.11-12.6): Read and respond to screenplays using written evaluation and

personal response.

2. TREATMENT ONE (9-12.T.1.2.1, 9-12.T.3.2.2, 9-12.T.3.3.4, 9-12.VA.3.2.5, W.11-12.3, W.11-

12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5,

W.11-12.6, L.11-12.1, L.11-12.1.a, L.11-12.1.b, L.11-12.2, L.11-12.2.a, L.11-12.2.b): Pre-

write story treatments.

http://www.screenwriting.info/

http://www.screenwritersutopia.com/

http://www.movieoutline.com/articles/how-to-write-a-treatment.html

http://www.movieoutline.com/articles/how-to-write-a-treatment.html

http://www.moviescriptsandscreenplays.com/

http://www.movieoutline.com/articles/screenplay-format-a-guide-to-industry-standard-script-formatting.html

http://www.movieoutline.com/articles/screenplay-format-a-guide-to-industry-standard-script-formatting.html


3. TREATMENT TWO (9-12.T.1.2.1, 9-12.T.3.2.2, 9-12.T.3.3.4, 9-12.VA.3.2.5, W.11-12.3, W.11-

12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5,

W.11-12.6, L.11-12.1, L.11-12.1.a, L.11-12.1.b, L.11-12.2, L.11-12.2.a, L.11-12.2.b): Write

a treatment.

4. CREATING A SCENE (9-12.T.1.2.1, 9-12.T.3.2.2, 9-12.T.3.3.4, 9-12.VA.3.2.5, W.11-12.3,

W.11-12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-

12.5, W.11-12.6, L.11-12.1, L.11-12.1.a, L.11-12.1.b, L.11-12.2, L.11-12.2.a, L.11-12.2.b):

Write a scene using a script format.


Purpose: Engage students in script-writing.

Target:

TREATMENT, SCENE, PITCH ((9-12.T.1.2.1, 9-12.T.3.2.2, 9-12.T.3.3.4, 9-12.VA.3.2.5, W.11-12.3,

W.11-12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5,

W.11-12.6, SL.11-12.4, SL.11-12.5, SL.11-12.6, L.11-12.1, L.11-12.1.a, L.11-12.1.b, L.11-12.2,

L.11-12.2.a, L.11-12.2.b): Engaging Scenario: You have been hired as an intern at a film

studio. Write a story treatment using the writing process, and write a scene for your film

using script format. “Pitch” your film to your class.


Grades 11-12 Unit 6

Creation: Application of

Learning

“I don't care who you are. When you sit down to write

the first page of your screenplay, in your head, you're

also writing your Oscar acceptance speech.”

--Nora Ephron (screenwriter of “When Harry Met Sally,” Sleepless in

Seattle,” “You’ve Got Mail,” and “Julie and Julia”)

OVERVIEW This unit is the culmination of the semester, as students will use what they have learned

to create a final production.

Students will need access to filming and editing equipment to create a short film.

ENDURING UNDERSTANDINGS The filmmaker uses images and sounds to create an emotional response

(connection) with an audience.

GUIDING QUESTIONS How do I apply a semester’s worth of learning into an original work.

STUDENTS WILL KNOW AND UNDERSTAND Movie Trailers

Shorts

Storyboarding

Pre-writing

Writing

Organization

Basic filming and editing

skills

How to use the writing process to write a scene.





disciplines. 9-12.T.1.2.1 Create works that integrate processes and concepts of other art forms.




http://www.brainyquote.com/quotes/quotes/n/noraephron399293.html



http://www.google.com/imgres?q=nora+ephron+screenwriter&safe=active&sa=X&biw=1344&bih=738&tbm=isch&tbnid=3mVcmbHvE68hvM:&imgrefurl=http://www.nj.com/entertainment/index.ssf/2012/06/nora_ephron_dead_dies_sleeples.html&docid=iYxCS2B7X2z10M&imgurl=http://media.nj.com/entertainment_impact/photo/11239450-large.jpg&w=380&h=275&ei=AuaMUp_LE8XokQfx9YGoCQ&zoom=1&ved=1t:3588,r:62,s:0,i:277&iact=rc&page=3&tbnh=173&tbnw=232&start=41&ndsp=24&tx=81&ty=81


9-12.T.3.1.1 Interpret and perform scripts to convey story and meaning to an

audience.

9-12.T.3.1.2 Research and apply physical, emotional, and social dimensions in

creating character.


and skills. 9-12.T.3.2.1 Show how artistic choices can affect performances and formal

productions.

9-12.T.3.2.2 Construct imaginative scripts that convey story and meaning to an

audience.

9-12.T.3.2.3 Interpret/perform a work respecting the intent of its creator.


9-12.T.3.3.1 Develop and sustain a character that communicates with the

audience.

9-12.T.3.3.2 Organize and conduct rehearsals for production.

9-12.T.3.3.3 Plan and develop original set designs that support a dramatic text.



9-12.T.3.3.5 Demonstrate appropriate behavior while attending and/or participating

in theatrical events.

IDAHO CONTENT STANDARDS: GRADE 9-12: HUMANITIES: VISUALARTS



visual arts.

9-12.VA.2.2.6 Write an artist’s statement that describes a series of works (background

information on the artist, artists and movements that were influential on

the work, significance of the body of work).


Goal 3.1: Demonstrate skills essential to the visual arts.

9-12.VA.3.1.3 Demonstrate how (elements and principals) can be used to solve

specific visual arts problems.

9-12.VA.3.1.4 Present convincing or accurately rendered subjects that demonstrate

refined observational skills.

9-12.VA.3.1.5 Plan, record, and analyze a body of work through keeping an artist’s

journal or sketchbook.

Goal 3.2: Communicate through the visual arts, applying artistic

concepts, knowledge, and skills.

9-12.VA.3.1.6 Critique one’s own work with the intent of revision and refinement.

9-12.VA.3.2.1 Choose purposefully between visual characteristics of a variety of media

and use these to communicate one’s own idea.

9-12.VA.3.2.2 Discriminate and select from a variety of symbols, subject matter, and

ideas to communicate clearly personal statements.


9-12.VA.3.2.3 Create an interpretation of a work respecting the intent of its creator.

9-12.VA.3.2.4 Select and utilize visual, spatial, and temporal concepts to enhance

meaning in artwork.

9-12.VA.3.3.2 Apply various symbols, subjects, and ideas in one's artwork.

9-12.VA.3.3.3 Use the creative process (brainstorm, research, rough sketch, final

product) to create and critique a work of art.

9-12.VA.3.3.4 Determine and execute appropriate visual presentation of an original

artwork.

Writing


W.11-12.2 Write informative/explanatory texts to examine and convey complex

ideas, concepts, and information clearly and accurately through the

effective selection, organization, and analysis of content

W.11-12.2.a Introduce a topic; organize complex ideas, concepts, and information so

that each new element builds on that which precedes it to create a

unified whole; include formatting (e.g., headings), graphics (e.g., figures,

tables), and multimedia when useful to aiding comprehension.

W.11-12.2.b Develop the topic thoroughly by selecting the most significant and

relevant facts, extended definitions, concrete details, quotations, or other

information and examples appropriate to the audience’s knowledge of

the topic.

W.11-12.2.c Use appropriate and varied transitions and syntax to link the major

sections of the text, create cohesion, and clarify the relationships among

complex ideas and concepts.

W.11-12.2.d Use precise language, domain-specific vocabulary, and techniques such

as metaphor, simile, and analogy to manage the complexity of the topic.

W.11-12.2.e Establish and maintain a formal style and objective tone while attending

to the norms and conventions of the discipline in which they are writing.

W.11-12.2.f Provide a concluding statement or section that follows from and supports

the information or explanation presented (e.g., articulating implications or

the significance of the topic).



sequences.

artisW.11-

12.3.a

Engage and orient the reader by setting out a problem, situation, or





reflection, and multiple plot lines, to develop experiences, events, and/or

characters.

W.11-12.3.c Use a variety of techniques to sequence events so that they build on one

another to create a coherent whole and build toward a particular tone

and outcome (e.g., a sense of mystery, suspense, growth, or resolution).




characters.






(Grade-specific expectations for writing types are defined in standards 1–

3 above.)







Language

Conventions of Standard English

L.11-12.1 Demonstrate command of the conventions of standard English grammar

and usage when writing or speaking.

L.11-12.1.a Apply the understanding that usage is a matter of convention, can

change over time, and is sometimes contested.

L.11-12.1.b Resolve issues of complex or contested usage, consulting references

(e.g., Merriam-Webster’s Dictionary of English Usage, Garner’s Modern

American Usage) as needed.

L.11-12.2 Demonstrate command of the conventions of standard English

capitalization, punctuation, and spelling when writing.

L.11-12.2.a Observe hyphenation conventions.

L.11-12.2.b Spell correctly.




DIGITAL CONTENT

Websites

Artist’s Statement of Experimental Filmmaker and Video Artist Rohesia Hamilton

Metcalfehttp://www.panix.com/~hamiltro/biography/statement.shtml


1. SCENE OR TRAILER (9-12.T.1.2.1, 9-12.T.3.2.2, 9-12.T.3.3.4, 9-12.VA.3.2.5, W.11-12.3,

W.11-12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5,

W.11-12.6, L.11-12.1, L.11-12.1.a, L.11-12.1.b, L.11-12.2, L.11-12.2.a, L.11-12.2.b): Pre-

write an original work—either a scene or trailer—using index cards to outline the

scene sequence.

http://www.panix.com/~hamiltro/biography/statement.shtml


2. STORYBOARD (9-12.T.1.2.1, 9-12.T.3.2.2, 9-12.T.3.3.4, 9-12.VA.3.2.5, W.11-12.3, W.11-

12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5,

W.11-12.6, L.11-12.1, L.11-12.1.a, L.11-12.1.b, L.11-12.2, L.11-12.2.a, L.11-12.2.b):

Storyboard a visual draft of the scene.

3. SCRIPT (9-12.T.1.2.1, 9-12.T.3.2.2, 9-12.T.3.3.4, 9-12.VA.3.2.5, W.11-12.3, W.11-12.3.a,

W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6,

L.11-12.1, L.11-12.1.a, L.11-12.1.b, L.11-12.2, L.11-12.2.a, L.11-12.2.b): Write a script.

4. READER’S THEATRE (9-12.T.3.1.1): Share scripts using a reader’s theatre format.

5. SHOOT AND EDIT (9-12.VA.3.3.3, 9-12.VA.3.3.4): Shoot and edit scenes.

6. ARTIST’S STATEMENT (9-12.VA.2.2.6, W.11-12.2, W.11-12.2.a, W.11-12.2.b, W.11-12.2.c,

W.11-12.2.d, W.11-12.2.e, W.11-12.2.f): Write an artist’s statement.

7. SHORTS FILM FESTIVAL (9-12.VA.3.3.4): Premier shorts at a class film festival.


Purpose: To apply skills and techniques to create an original filmed product.

Target: CREATING A SHORT FILM (9-12.T.1.2.1, 9-12.T.1.2.2, 9-12.T.3.1.1, 9-12.T.3.1.2, 9-

12.VA.2.2.6, 9-12.T.3.2.1, 9-12.T.3.2.2, 9-12.T.3.2.3, 9-12.T.3.3.1, 9-12.T.3.3.2, 9-12.T.3.3.3, 9-

12.T.3.3.4, 9-12.T.3.3.5 9-12.VA.3.1.3, 9-12.VA.3.1.4, 9-12.VA.3.1.5, 9-12.VA.3.1.6, 9-

12.VA.3.2.1, 9-12.VA.3.2.2, 9-12.VA.3.2.3, 9-12.VA.3.2.4, 9-12.VA.3.3.2, 9-12.VA.3.3.3, 9-

12.VA.3.3.4, W.11-12.3, W.11-12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e,

W.11-12.4, W.11-12.5, W.11-12.6, L.11-12.1, L.11-12.1.a, L.11-12.1.b, L.11-12.2, L.11-12.2.a,

L.11-12.2.b): Engaging Scenario: Your production company has been hired to write, film,

and edit a short film. Using what you know about film production from idea, to page, to

film, write a script using the creative process, film and edit the script, and screen the

script at a premier in which you introduce your film by sharing your artist’s statement.

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