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Created Equal: Image, Sound, and Story
STUDENT JOURNAL
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Welcome to Created Equal: Image, Sound, and Story
In this unit of study about civil rights, you will become a historian and documentary filmmaker. You will watch film clips, look at primary source photographs and newspaper clippings, listen to protest songs, and create your own images, music, and media projects about civil rights.
You have your own personal Student Journal to capture your thoughts, questions, ideas, and pre-production of your projects.
To personalize your journal, answer these questions with words, drawings, or collages on the cover:
• Given your prior knowledge, what do you think civil rights activists in the 1960s were fighting for?
• What injustices do you see social justice advocates fighting against today?
• In Created Equal, you’ll learn about the CORE Freedom Riders, a group of young Americans, black and white, who boarded buses in the segregated South to protest racial segregation. Many of them faced jail, violence, or worse. Think about the world you live in. Is there any issue or injustice you would like to stand up against? Would you risk your personal safety for it? Why or why not?
Be creative! Be artistic! Your answers can express emotion and your personality!
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INTRODUCTION: View Now Do Now
As you watch the first chapter of the film, write down notes that answer these three questions.
What is the civil rights issue in the film?
Who was involved?
What tactics or strategies did the civil rights activists use to try to achieve their goals?
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Notes/drawings from class discussion: What do you see? Feel? Want to know?
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INTRODUCTION: Researching
A good research question is specific, answerable, and interesting to YOU, the researcher! Take a look at an example of how one research question developed over time:
What types of people led these civil rights demonstrations?
What types of people led civil rights demonstrations in the 1960s?
What types of people led civil rights demonstrations in the years 1960-1969?
What types of people led civil rights demonstrations in Brooklyn, NY, in the years 1960-1969?
What types of people led civil rights demonstrations for equitable schools in Brooklyn, NY, in the years 1960-1969?
Why did members of the clergy lead civil rights demonstrations in Brooklyn, NY, in the years 1960-1969?
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DEVELOPING A RESEARCH QUESTIONINTRODUCTION
Write the first draft of your research question here:
IMAGE
What did you learn in this case study that helps answer your research question?
Write your revised research question here:
SOUND
What did you learn in this case study that helps answer your research question?
Write your revised research question here:
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IMAGEAn image can bring us right into the action and emotion of a moment.
When we uncover the story of the people in images, we can deepen our understanding of the moment.
In this Image project, you will see recent photographs of protest from the Black Lives Matter movement, along with images of protest from the Civil Rights movement in the 1960s. At the end, you will work with classmates to create your own protest image and send a message against school segregation.
Photo: “Taking a Stand in Baton Rouge,” Bachman, Jonathan, July 13, 2016; Reuters
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IMAGE: View Now Do Now
Notes/drawings from class discussion: What do you see? Feel? Want to know?
After your teacher gives more information about the image, write down your responses to the following:
How did hearing more information about the protest deepen or change the way you think or feel about the image? Explain.
How did hearing more information about Ieshia Evans deepen or change the way you think or feel about the image? Explain.
Notes/drawings from class discussion: What do you see? Feel? Want to know?
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As you look at the images, record specific examples of the following:
Challenges facing the Bibuld family…
1)
2)
3)
How CORE helped the Bibulds…
1)
2)
3)
Discuss: How does the information from the timeline deepen our understanding of the “Bury Jim Crow” image?
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IMAGE: View Now Do Now
Write down observations and questions for each image.
What do you see? What do you feel? What do you want to know?
Clo
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Wid
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TYP
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IMAGE: Creating
It’s 1963. You are now a working photographer in Brooklyn, NY. The local chapter of CORE has asked you to cover the protest against school segregation happening at your school. If you get a good shot, your picture will be on the front page of tomorrow’s paper!
Step 1: With your group members, look back at your research in this section on the Bibuld family. Select one of their challenges to focus on for this exercise.
We chose to focus on the issue of…
because…
Step 2: Write and/or draw three different messages/images in the space below to put on your poster that will address the challenge you chose in Step 1.
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Step 3: Make a list of three scenarios that show students in your school dealing with this challenge.
1)
2)
3)
Step 4: Reflect on the description of your scenario and decide what type of shot will convey your message with the clearest impact. Circle one:
CLOSE-UP SHOT MEDIUM SHOT WIDE SHOT
Why did you choose this type of shot?
Step 5: On the next page, sketch out the photo you want to take. (Stick figures are okay!) Make sure your protest sign is clearly visible in the image. Also, describe the location in your school where the photo will take place.
Example:
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Sketch out what your photo will look like here:
Shot type:
Location:
Description:
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Step 6: Go to your chosen location and set up a scene using the members of the group. Using your drawing as a reference, look through the camera and make sure every person and prop is in the right place.
Step 7: Take at least three shots of your photo subject and immediately look at them together. See if there is anything you want to revise to make the message of them even clearer. If so, make those revisions, reset, and take three more shots.
Step 8: Select your group’s favorite shot and share it with the class.
IMAGE: Share and Reflect
Take a look at the photographs your classmates have composed and shot.Choose an image from another group in your class to write about.
What message does the image communicate and what techniques did the photographers use to convey that message?
The story of civil rights is my story because…
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SOUNDMusic has the ability to move us in many ways. Civil rights activists in the 1960s knew this, and activists today still use this powerful medium to share messages, inspire action, and create unity.
In this unit, you’ll learn what makes an effective protest song and then you’ll have a chance to work with your classmates to create your own song to be featured in your own short documentary on civil rights.
Photo: Galati, Noam. August 13, 2015. WHRO, Norfolk, VA. Accessed January 21, 2016. http://whro.org/music/9-music/21478-janelle-monae-releases-visceral-protest-song-hell-you-talmbout.
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SOUND: View Now Do Now
Notes/drawings from class discussion: What do you see? Feel? Want to know?
How does reading the artist’s intention change or deepen your experience of listening to the song?
Notes/drawings from class discussion: What do you see? Feel? Want to know?
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Using the primary sources provided by your teacher, answer the following:
Who were the protesters? What were their demands What actions did protesters take?
SOUND: View Now Do Now
Notes/drawings from class discussion: What do you see? Feel? Want to know?
How did the experience of singing together help CORE activists?
How does the non-diegetic version of “Buses are a’comin’” make these scenes more emotional and powerful?
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SOUND: Creating
Step 1: Brainstorm a few popular songs whose lyrics you could rewrite. Listen to the chorus and a verse of each song. Describe the mood of each song. How does it make you feel? (Example: Proud? Sad? Angry?)
Song Title/Artist How It Makes Me Feel
Step 2: As a group, decide which song’s lyrics you’ll rewrite.
Our group chose the song…
because…
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Step 3: Find the lyrics to a chorus and a verse to your song, and begin writing new ones. Rename the song to match the new lyrical theme.
New Song Title:
New Song Lyrics:
Step 4: Rehearse the chorus and the verse with the song playing.
Step 5: Revise your lyrics or your song choice as needed.
Step 6: Record the final version.
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SOUND: Share and Reflect
Listen to the songs your classmates performed. Choose one of their songs to answer the following questions.
What does the song communicate and what tools did the songwriters use to convey that message?
The story of civil rights is my story because…
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STORYInformed by your extensive research on Brooklyn CORE, you’re inspired to create a short documentary film. For many Americans, the story of the Civil Rights movement outside of the American South is not well known. You want to make a film to bring what you’ve learned about Brooklyn CORE’s activism to your school and community. You’ll work as a production crew and create a film that includes the primary and secondary sources you’ve discovered throughout the Created Equal curriculum, shoot new footage, and add music.
Photo: “Brooklyn CORE Shows How to Succeed in N.Y. School Demonstration,” July 20, 1963; Arnie Goldwag Congress of Racial Equality (CORE) collection, ARC.002, Box 2, Folder 5; Brooklyn Historical Society.
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STORY
Step 1: Decide on a Main Idea
Review each individual group member’s research question. Choose one, or combine some, to create the best research question that is:
• Easy to answer
• Specific
• Interesting and inspiring
The main idea of our group’s documentary short will be…
Step 2: Review and Identify Archival Sources
Open the photos folder of CORE sources on your iPad or Chromebook and inspect the contents. With your main idea from Step 1 in mind, review each of these sources and discuss the questions:
1. What questions does it answer?
2. How does it support your main idea?
3. How might you use it in the film?
When you have discussed the sources, circle 4 or 5 to use in your film.
SOURCE 1 SOURCE 2 SOURCE 3 SOURCE 4 SOURCE 5
SOURCE 6 SOURCE 7 SOURCE 8 SOURCE 9 SOURCE 10
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Step 3: Review and Identify Interview Sources
Open the video folder of interviews on your iPad or Chromebook and inspect the contents. With your main idea from Step 1 in mind, review each of the clips, and answer the questions:
• What questions does it answer?
• How does it support your main idea?
• How might you use it in the film?
1.
2.
3.
1.
2.
3.
Step 4: Create a Radio Edit
Documentary filmmakers create a radio edit by ordering their interviews in a sequence that conveys their main idea through the spoken word in a clear and interesting way. Sequence only the interviews from Step 3 and create a radio edit for your main idea. Think about the order in which you’d like the interview clips or clips you chose to appear.
When you feel the sequence is strong, open a new WeVideo or iMovie project, choose the two selected clips and drag them into the timeline to create a new sequence.
Once you have created this rough layout, play the entire sequence and listen carefully. You don’t have to include the entire interview, you can trim or edit it.
• What is missing?
• Who else might be useful to include here?
CLIP 1
CLIP 6
CLIP 2
CLIP 7
CLIP 3
CLIP 8
CLIP 4
CLIP 9
CLIP 5
CLIP 10
INTERVIEW 1 INTERVIEW 2 INTERVIEW 3 (OPTIONAL)
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Step 5: Record an Interview
Are there additional ideas that should be included in your project? You are going to record an interview with each other to add to your documentary. To help you get started, write down your answer to one of these questions:
When you were researching Brooklyn CORE, what is one thing that surprised you?
_____________________________________________________________________________________________
What would you like to be sure your audience knows and understands about the 1960s-era civil rights activists?
_____________________________________________________________________________________________
Record a short interview that adds your insight to the film’s main idea. Using the other interviews as a visual reference, make sure that your interview is recorded in a quiet place and frames up your interviewee’s face. You can make decisions about the framing and composition of your interviewee and about where the interview will take place. Try to find a spot that is quiet!
Sample interview A sketch of how I want the interviewee to appear in the frame
Record your interview and upload it into your WeVideo or iMovie project.
Add your interview into the rough layout where it fits best. Your radio edit is now completed.
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Step 6: Add Archival Sources
Close your eyes and listen to the entire sequence of interviews. You have completed a radio edit. As you listen, think about which images (from Step 2) support what your interviewees are saying.
• Where will the images fit best?
Choose 4 or 5 images from the photos folder. Place the images into your sequence above the video. Your interviewee’s words play as we look at the image. Think about how long the image should play for and trim the clip accordingly. Not all interviews will need a source playing over them.
Step 7: Add Music
Watch your entire sequence with the images added in and think about the emotion you’d like to give the short documentary. Do you want the mood to be hopeful? Sad? Perhaps your video begins sad but ends hopeful. Select music from your Audio folder that can help create these emotions. You may use more than one piece of music. You can even use one of the protest songs that your class created in the Sound unit! Add your music into the sequence where it fits best.
Step 8: Add Titles and Credits
It’s time to give your documentary short a title. Maybe it’s a quote or your message.
_____________________________________________________________________________________________
_____________________________________________________________________________________________
Use the Titling feature to add this text to the beginning of your film.
Use the same tool to create credits at the end that recognize everyone who helped make this documentary short possible: e.g. director, camera operator, interviewees.
INTERVIEW 1 INTERVIEW 2 INTERVIEW 3 (OPTIONAL)
ARCHIVAL SOURCE 1 ARCHIVAL SOURCE 2INTENTIONAL GAP
LEFT HEREARCHIVAL SOURCE 4 ARCHIVAL SOURCE 5
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Step 9: Revise your documentary
Watch your entire sequence. Consider the order, the pacing, and the audio levels in this rough cut. Can you hear the interviews? Are you communicating your main idea effectively? Make the revisions that you think make your argument most clear.
Step 10: Create an extra feature
You’ve done it! You learned about civil rights in Brooklyn, became a historian and filmmaker, and shared your unique understanding of the past with the world. In this final session together, you’ll reflect on the process, and everyone in your class will record an interview as an “extra feature” to your group’s film.
Take a moment to answer the prompt one last time:
Shooting Special Features
Take turns filming your classmates’ final response to the prompt “The story of civil rights is my story because….”
Remember what you learned about how to set up an interview:
• Find a quiet location.
• Frame the interviewee’s face in the screen.
A sketch of how I want the interviewee to appear in the frame
Record your interview and upload it into your WeVideo or iMovie project.
The story of civil rights is my story because…
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GLOSSARY OF TERMSACTIVISM: a practice of using strong action or involvement as a means of achieving political or social change, sometimes by demonstrations, protests, etc.
ACTIVIST: a person who campaigns to bring about political or social change through action, such as protest.
ARCHIVAL FOOTAGE: found footage placed into the larger context of another film to support the subject matter.
BLACK LIVES MATTER: created in 2012 as a hashtag (#) on Facebook by three black community organizers (Alicia Garza, Patrisse Cullors, and Opal Tometi) after the murder of 17-year-old Trayvon Martin by a vigilante. It was picked up by various activists around the country and became a unifying slogan for grassroots organizing across the country and the world protesting police brutality and anti-black racist violence. It is also the name of an organization founded by the creators of the hashtag.
BOYCOTT: to join with others in refusing to deal with a person, an organization, or a country, usually as a punishment or protest.
CAMPAIGN: to work in an organized and active way toward a particular goal, often a political, social, or economic one.
CIVIL DISOBEDIENCE: the refusal to comply with certain laws or to pay taxes and fines, as a form of political protest.
CIVIL RIGHTS: a range of privileges and rights guaranteed by the United States Constitution and subsequent amendments and laws that guarantee fundamental freedoms to all individuals.
CLOSE-UP SHOT: a framing in which one part of the subject takes up most of the frame, used often to express a character’s emotion.
CORE (CONGRESS OF RACIAL EQUALITY): an African-American-led, interracial civil rights organization founded in the United States in 1942 that played an important role in the Civil Rights Movement by organizing campaigns for racial and economic justice.
DIEGETIC SOUND: any sound that originates within the world of the film.
DIRECTOR: a person who supervises the actors, camera crew, and other staff for a film
DOCUMENTARY: nonfiction film structured as a story to record an event, place, or persons.
EPHEMERA: things that are used or enjoyed for only a short time (e.g. a movie ticket, a flyer for a protest, a brochure)
FREEDOM RIDERS: activists who participated in the campaign by CORE to desegregate public facilities (e.g. transportation by bus) in the American South during the 1960s.
FREEDOM SINGERS: a group founded as a student quartet in 1962 at Albany State College in Georgia by musicians who brought music to CORE campaigns and events, including rewriting popular songs of the day with protest lyrics and recording them for people to learn and use in protest.
GHETTO: an impoverished, neglected, or otherwise disadvantaged residential area of a city created by racial segregation and discrimination in housing, schools, and work.
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INTERRACIAL: involving people of different races (e.g. alliances, relationships, marriages)
INTERVIEW: a series of questions for a person
JIM CROW LAWS: state and local laws enforcing racial segregation in the Southern United States, enacted after the Reconstruction period and continuing until 1965.
JUXTAPOSITION: the placing of two images side by side in space or time.
MEDIUM SHOT: a framing showing the subject or setting from the waist up.
NON-DIEGETIC SOUND: sound that does not originate from the world of the film, such as narration or musical score.
NONVIOLENCE: the use of peaceful means to bring about political or social change.
ORAL HISTORY: an historical method that uses recorded interviews to preserve firsthand memories, accounts, or interpretations of a person’s life, an event, a place, a way of life, or a time period.
PROTESTER: a person who publicly demonstrates strong objection to or advocacy for something; a demonstrator.
PRIMARY SOURCE: a source that was created at the time of study (e.g. photo of a CORE protest in the 1960s is a primary source for that time period).
RADIO EDIT: the audio track of a documentary film
RESEARCH QUESTION: an answerable question about a specific topic, which serves as the first step in the research process and may change over time as the researcher discovers new information.
SCORE: the musical soundtrack usually created specifically for a film, emphasizing tone and emotion.
SEGREGATION: the enforced separation of different racial groups in a country, a community, or an organization.
SEQUENCE: several scenes edited together in a specific order.
SHOT COMPOSITION: the arrangement of a scene in the frame
SOUNDTRACK: the songs that are played during a film
WIDE SHOT: a more distanced framing in which the subject is seen from head to toe in a setting.
