Title: Language Takes the Screen Length of Course: Full Year (2

Title: Language Takes the Screen Length of Course: Full Year (2 semesters; 3 trimesters; 4 quarters)

Subject Area - Discipline: English (“b”) CTE Sector: Arts, Media, and Entertainment

CTE Pathway: Performing Arts

Grade Level: 10

Course Overview

This 10th grade course jumps off of the UCCI approved course called LANGUAGE TAKES THE STAGE by instructing students in the art of performance in film. In this

high interest course, students explore the world of story-telling through movies,

through television, and through video games. Since LANGUAGE TAKES THE STAGE deals with how stage is a reflection of the human condition, a logical path for a

student in the Performing Arts Pathway is LANGUAGE TAKES THE SCREEN-- an expansion of the communication of universal themes as can only be experienced

through film. (This includes television, movies, online media, and even a look at video

games.) This course applies knowledge of language to how language functions in

different contexts, to make effective choices for meaning or style, and to

comprehend more fully when reading, listening, and performing. It also calls for

drawing conclusions about the effectiveness of informal and formal productions,

films/videos, or electronic media on the basis of intent, structure, and quality of the

work. The student learns to communicate creative design, make directorial

choices, practice leadership skills, make aesthetic judgments, and very importantly,

learn to solve problems, all while performing and creating various film projects.

Course Content:

Unit 1: Elements of story and film

Essential Questions: How do we each tell our story? How do we define ourselves

through our stories? What must the better story include to become universal?

Students begin by reviewing the elements of story-telling, which they then apply to

their analysis of the angles and perspectives that inform visual storytelling,

specifically those that emphasize the telling of life-altering events. Students follow

the life-altering event theme through the study of a short story and a novel, the

writing of an autobiographical account and a biography, and finally examination of

the life-altering events contained within the stages of the fictional “Hero’s Journey.”

Students study the short story “Contents of the Dead Man’s Pocket” in order to

analyze and understand how point of view influences audience/reader perception.

To further this understanding, students engage in the “standing on the ledge”

activity to discover parallels between literary perspective and cinematic angle. In

the “Different Perspectives” assignments and activities, students move to three

articles in the text that portray the same issue from three angles. Students write a

rhetorical précis of each article to prepare for their first “me-box” activity, or the

beginning of the exploration of character. Viewing their peers in the visually

focused me-box allows students to further their comparison of literary perspective

and cinematic angle. The follow-up activity encourages further realization and

analysis as students use their notes to write an in-class essay that compares and

contrasts 2 peer performances.

To further their understanding of the elements of story, students read the novel Life of Pi, a gripping example of the theme of self-discovery through life-altering events.

Activities include a Venn diagram comparing Blake’s “The Tyger” with Martel’s tiger,

Richard Parker, and another comparing Pi with Blake’s “The Lamb” in order to

discover the parallels between the two and to inform discussions and journaling on

the paradox of the inner self: within each of us the tiger and the lamb coexist side

by side, and understanding the fluctuations between the two sides in response to

life events deepens student interpretation of character. As a tie in to film, students

use the me-box to demonstrate the internal paradox of character. Continuing to

develop perspective in storytelling, students write a reflective autobiographical

essay that focuses on a pivotal, life-altering event. Students must make a variety of

informed choices as they ponder what to include and how to tell their story in such a

way that it defines them. Students use their autobiographical essay as the basis for

their first short film.

Shifting to the public arena, students conduct research on a famous/historical

person and the life-altering events that shaped them, and then write a biographical

essay. Students ‘become’ their famous person in the “Celebrity News Conference”

project, leaning on their understanding of character and motivation as they dress

and act as their famous person while the class performs the role of the press.

Moving to the fictional Hero’s Journey, students examine excerpts from ancillary

novels, such as Harry Potter series, that clearly exemplify the stages of the journey.

Journaling allows connection to Life of Pi as students scrutinize the Hero’s Journey for those elements that are present in Pi’s “better story.” After viewing clips from

Life of Pi and other films that exemplify the stages of the Hero’s Journey (such as

The Matrix and Harry Potter), students work in groups to logically divide the stages

into the cinematic formula known as the “three-act story structure” and write a

3-page fiction script.

Unit 1: Key Assignments

Elements of Story and Film

Standing on the Ledge: After reading “Contents of a Dead Man’s Pocket,” student find parallels between literary perspective and cinematic angle. Students explore

how visual angle influences perception.

Differing Perceptions: Examine one issue from several points of view using the 3

articles in Holt Literature Language Arts: Fourth Course: “Double Daddy,” “Diary of a Mad Blender,” and “The Child’s View of Working Parents.” Students write a

rhetorical précis of each article. Following this exercise, students select 3 lines from

each article to perform in the “me-box.” The focus is how manner of delivery affects

perception of a single issue. Students finally write an in-class compare/contrast

essay based on the notes they have taken on 2 me-box performances.

Venn diagram and the Tyger and the Lamb:: Students use a Venn Diagram to

compare Blake’s “The Tyger” with Martel’s tiger, Richard Parker, and another

Venn’s Diagram to compare Pi and Blake’s “The Lamb,” in order to discover the

parallels between the two and to inform discussions and journaling on the paradox

of the inner self: within each of us the tiger and the lamb coexist side by side, and

understanding the fluctuations between the two sides in response to life events

serves to deepen our interpretation of character. Now, the students explore in the

me-box how facets of characters may not be apparent. Like Pi, there are things that

are hidden in a character that are not apparent. Can “good” characters” do “bad”

things? Students act out a scenario where they have to give a nuance of evil

motivation or good motivation in their performance.

Reflective Autobiographical Essay: To follow through with the importance of

perspective, the students write a reflective autobiographical essay that focuses on a pivotal event that altered the course of their life. These essays will be presented

orally Students then reflect in their journals on the questions: What if this event had

not happened in their lives? What would alternative outcomes have been?

From Pitch to Script: After reading about and practicing with the text, students write a pitch for their autobiographical project. The students follow pattern with their

autobiographical essays with the ultimate goal of script formatting and

storyboarding of these essays. The steps are as follows:

● Based on the treatment they write a film story and practice script formatting

● Demonstrate understanding of the art of storyboarding by practicing

designing their own storyboards based on the script. ● Students demonstrate understanding by creating a script breakdown for

scheduling. Students write and storyboard scripts based on autobiographical essays for a 3- minute film project. Formatted script is 3 pages long. Storyboard includes a minimum of 30 frames.

Celebrity News Conference: Students conduct research on a famous/influential

historical person and write, edit, and revise a biographical essay. The will “become”

their famous person while the class performs the role of the press. Film crews

organized on the technical side of the course film the celebrity news conferences.

Editing: The textbook, work on computer editing, worksheets, a quiz, hands on

experience on computer editing using Apple computers and iMovie software are all

used to instruct students in post-production skills. Once the students have

demonstrated the ability to use the vocabulary and the technology involved in

editing, they then select editors and assistant editors to edit their autobiographical video project. Edited projects are presented in class for final evaluation. A grading rubric is used.

The Three Act Story Structure: After viewing clips from The Matrix, Life of Pi, and various Harry Potter films that exemplify the stages of the Hero’s Journey, students

work in groups to identify the stages that are the formula known as the three act story structure.

Three Act Story Structure: Students are able to identify each of the components of

a three-act story through book work and through the viewing of film clips.

Hero’s Journey: Students are able to identify the components of the traditional

hero’s journey concept through book work and through the viewing of film clips.

Movie Review: Students will read movie reviews to get an understanding of why the

Hero’s Journey is a successful format. Reading the reviews also informs the

students as to what makes a movie a commercial success or failure.

Script Writing and Formatting: Students practice scriptwriting and script formatting, writing a 3 page fiction script based on the concept of the Three Act

Story Structure and of the Hero’s Journey.

Work in the text Video Digital Communication Production, especially the chapters on development and planning, the students learn the technical and visual arts

vocabulary needed for the practice of film production such as hiring personnel,

above the line (director, producer, writer, director of photography, production

designer, composer, editor) and below the line industry positions (grip, set

decorator, production assistant, makeup, gaffer). Of utmost importance is that the

students are able to demonstrate understanding of the three phases of the

filmmaking process which are pre-production, production, and post-production.

Textbook work and quizzes are the formative assessments used through this initial

stage of instruction.

Pre-production: Student groups read a script and break it down into pre-production elements by assigning positions to each group member. In a writing assignment,

they explain what the responsibilities of each position are.

The Player: Students watch fragments of the Robert Altman movie The Player and discuss the jobs and careers in the movie industry, recognizing the roles of

Producer, Director, and Screenwriter (above the line).

Developing a Plan: student groups continue practicing and demonstrating their

understanding of the pre-production process by developing a plan to produce one of each of the following:

documentary, fiction, commercial, movie trailer, newscast, music video, animation.

The plan consists of answering, in writing, questions about who is the hero; what is

the message; who is the audience; is it objective or subjective (voice); how long is

the film project; how many cast and crew are involved; and how many locations are

there.

Visual Media: Students watch, discuss, compare and contrast fragments of films

illustrating the types of visual media. They recognize and identify elements of the

different types of visual media.

Unit 2: Character and pre-production

Essential Questions: How do we discover the 'essence' of a character? How does

conflict in life define individuals, and how does conflict in literature and film define

character?

Students examine and analyze the short story and novel to deepen their

understanding of character. Through journaling, focused writing, performance, and

analysis, students develop an understanding of authorial techniques used to create

and inform character. Specifically, students focus on setting, direct/indirect

characterization, motivation, and internal/external conflict.

To begin, students read “The Cask of Amontillado” to examine how setting informs

and enhances character. In their journals, students create a different setting for

“Amontillado” and analyze its effect upon character. To deepen this understanding,

students speak dialogue from “Amontillado” in the me-box over varying selections

of music and sound effects (cinematic setting). Finally, to demonstrate their

realization of setting as it informs character, students write an interpretive essay

discussing how Poe's setting reveals character.

As students continue their study of character, they recognize the power of indirect

characterization by learning to make inferences from textual clues found in “And of

Clay Are We Created,” and its companion articles found in Holt. To further enhance understanding of the power of indirect characterization, students research a

modern everyday hero and write both a direct and indirect characterization of that

hero. Performing their hero's 'essence' in the me-box deepens the understanding

for both performer and audience.

Carrying this knowledge from short story to novel, students read Of Mice and Men, focusing their study on the interplay between motivation and conflict and how it

defines character. Through journaling, students explore then organize their

analysis/interpretation of the protagonist's final climactic decision. A class debate

deepens student understanding of the connection between character motivation

and believability. Students use journals for source material for writing a 3-5 line

soliloquy that seeks to capture motivation, which students then speak in the

me-box. Viewing film clips selected for their portrayal of motivation that drives

decisions within conflict invites students to compare the literary and cinematic

portrayals of Steinbeck's protagonist. As a culminating activity, students write an

essay that compares and contrasts the treatment of character motivation and

conflict in the two genres.


Character and pre-production

The Cask of Amontillado: students examine how the story’s setting creates and

enhances a macabre mood, which in turn further enhances character. In a writing assignment, students create a different setting for the story, allowing them to

determine the effect upon the character. To facilitate this understanding, students

speak lines of dialogue from Amontillado in the me-box over varying selections of

music and sound effects to discover how this affects character interpretation.

Interpretive essay: Followed by class discussion, students realize a wide range of character interpretation and insight, leading into an interpretive essay analyzing the use of setting in Cask of Amontillado.

Of Mice and Men: an outside reading schedule with questions takes students through the novella Of Mice and Men, an excellent study in the conflict and motivation that drives character.

Analytical Summary: focusing on indirect characterization, students study the short story “Two Kinds” to learn to recognize the subtle clues to character traits that

become powerful because we discover them through inference. Following class discussion, students further explore indirect characterization through journaling

that asks them to combine subtle character clues into an analytical summary of the ‘essence’ of one of the main characters in the “Two Kinds.” Performing their character’s ‘essence’ in the me-box deepens the understanding for both performer

and class audience.

3-5 Line Soliloquy: focusing on conflict and motivation, students employ their

journals to examine the internal and external conflict in “Two Kinds” to discover how

this informs character motivation, and vice versa. The journal provides source

material for writing a 3-5 line soliloquy that seeks to capture motivation, which

students then speak in the me-box for the critical appraisal of their peers.

Of Mice and Men, cont.: Students focus, in particular, on the interplay between motivation and conflict, and how it defines character. Journaling allows students to

organize their analysis/interpretation of George’s climactic decision at the end of

the novel, followed by a class debate as to whether the character’s motivation was

sufficient to warrant reader acceptance. A viewing of clips from two film versions of

the novella, selected for their portrayal of motivation that drives decisions within

conflict, invites students to explore the literary and cinematic portrayals of

character. As a culminating activity, students write an essay that compares and

contrasts the treatment of character motivation and conflict in the two genres.

Unit 3: Poetry and Mood Music

Essential Questions: How does poetry, or distilled language, convey profound,

insightful, emotionally loaded messages? What are the parallels between poetic

epiphanies and subtle, nuanced realizations of character on the screen?

Students critically examine the extremely focused language of poetic device and

form, which they then apply to their study and understanding of subtle, highly skilled

acting and filming techniques. Students learn to recognize that poetry is the

nuanced ‘spirit’ that is left after removing all unnecessary and even distracting

language, just as award-winning performances and cinematography are the result

of expert focus on the visual subtleties of character and cinematic approach.

Students begin with a detailed review of poetic terminology. To exemplify the idea

that “Poetry is intensity, and nothing is intense for long” (E.B. White), the introductory

activity asks students to create a small poster that compares the creation of a

poem to the distillation of alcohol, strengthening the concept of purposefully and

effectively focused language. Students access the “sound and sense” of poetry

with the “Shakespearian Metrical Foot” activity, a kinesthetic demonstration of the

meter present in stressed and unstressed syllables. Students use their knowledge

of meter to write their own Shakespearian sonnet, which they present to the class.

Furthering the study of sound and sense, students examine rhythm and rhyme in

poems from the text selected for their rich ‘sound effects,’ and write a paragraph of

analysis for one poem. Class discussion connects the lyre of ancient Greece to

modern lyrical poetry and musical lyrics, followed by a journal activity in which

students record the lyrics of a deeply emotional song and write a paragraph of

analysis focusing on the impact created by the unique combination of lyric with

musical score.

Shifting now to imagery, students scrutinize poems selected from the text for their

unique and moving utilization of this critical poetic device. Choosing one poem,

students write a short analysis to prepare for creating an open-circled

poster-board montage that is symbolic of the imagery. To demonstrate the

interplay of imagery with sound and sense, students use the montage as a facial

backdrop as they present their poem over varying musical scores, while journals

are used to compare and contrast the effects created.

Continuing the theme of poetry as distilled language paralleling cinematic

performance, the character distillation activity strengthens this connection by

demonstrating the importance of subtlety as students engender a character using

only minor gestures performed in the me-box, accompanied by a writing activity

that captures the character presented.

The unit now moves to a close as students analyze poems from the text selected for

their powerful figurative language; i.e. “Simile,” and “The Taxi,” narrowing the focus

of distillation to the near utmost as they examine how a poem as small as the Tanka

can convey a wealth of sensory input through the delicate utilization of poetic

device. Students then write and present their own Tanka. As a culminating activity,

students write, revise and edit an essay analyzing the use of poetic device in one of

the poems from the text.

Unit 3: Key Assignments:

Poetry and Mood Music

Small Poster: Students create a poster that defines and illustrates scientific distillation, so that they can recognize that poetry is the ‘spirit’ that is left after

removing all unnecessary and even distracting language; the pure form that is not

accidental but is instead the intended result.

‘Metrical Foot’ Activity: space 10 student volunteers across the front of the classroom—each student represents one metrical foot of iambic pentameter.

Using Shakespeare’s “Shall I Compare Thee to a Summer’s Day?” from the text,

each student speaks only his/her syllable, combining sound with kinesthetic sense

by rising or dipping depending upon his/her placement in the iambic foot:

unstressed / stressed. The goal is to read the entire sonnet smoothly. Continue

activity until all students have the opportunity to efficiently ‘be’ a syllable of poetry.

Write a Sonnet: students continue the study of the rhythm of poetry by writing their

own sonnet which they read to the class over their choice of background music or

sound effects.

Montage Poster: Students choose a poem and make a poster that is a

representative montage of images and words. The poster will have a face-sized

hole in the middle through which the student will present their memorized poem.

They will speak their poem twice, utilizing 2 different musical scores to maintain the

connection of imagery with sound and sense.

Character Distillation Me-box Activity: students choose a stock character (cowboy; barkeep; gangster; etc) and explore various gestures, such as watch checking,

popping a shoulder, tipping a hat, or flipping a coin, that capture the very heart of

their character. After listing a variety of gestures, students choose the three that

best exemplify their character, and perform them in the me-box for their

classmates, who then guess what stock character they represent. As a follow up,

students move the activity back to poetry by using written descriptions of the

gestures to compose an “I Am” poem. For example, “I am a hat-tipping,

boot-kicking, lasso-throwing, tobacco-chewing cowboy” etc.

Write a Tonka: The students read and deconstruct “Three Japanese Tankas” found in the Holt text. To further this idea of distilled language, students each write their own Tanka and share it with the class.

Poetry Analysis: Students write, revise, and edit an essay analyzing the use of poetic device in one of the poems from the Holt text.

Oral Interpretation of Poetry: Students choose a poem for oral interpretation in front

of the class. As they read their poems, the students are filmed. These films will be

judged based on teacher-created rubrics, and the best performers will be chosen

for the Oral Interpretation Poetry Project.

Culminating Essay: Students write an essay analyzing the use of poetic device in one of the poems from the text.

Editing Visual and Sound: Students continue to practice film production and

post-production as they learn the editing principles by reading textbook chapters

on editing visual and sound--extracting audio, adding music and sound effects. In addition, the students practice with titles and graphics, color correction, special effects, and green screen.

Oral Interpretations Poetry Project: After selecting the best oral interpretations, student groups are formed. Groups select the editor and assistant editor to work on

Poetry project, and they begin the work of recording voiceover, choosing video images, selecting additional images from Internet, and editing on the computer.

Edited projects are exported to DVD. Final edits are reviewed in class for evaluation,

grading, and publishing on film class website.

Website: Students create a website to showcase their film projects, teachers and

students are invited to nominate projects for best award in a certain category;

awards are given for the best director, writer, camera and editor.

Unit 4: Creating “A Whole New World”

Essential Questions: What does every individual or fictional character need to

realize personal fulfillment and happiness? What strange societies or formulas

might fulfill those needs? Conversely, how might an apparently ‘perfect’ society fail

to fulfill those needs?

Through the critical examination of utopian and dystopian societies in literature and

film, students identify the basic needs of humanity. Students continue to develop

the skills necessary to effective storytelling as they are guided through the creation,

assessment, and analysis of an adaptation, a short story, alternative endings,

dynamic characterization, and finally the creation and presentation of a unique

future society.

The unit begins with a study of the short story through the reading of “Lamb to the

Slaughter,” focusing on established mood and unfolding plot to identify the

‘unspoken.’ Analysis of the story centers on character motivation and subtext as

students experiment with interactions between the protagonist and her husband,

preparing them to write a film adaptation. Students write and storyboard scripts

based on adaptation of “Lamb to the Slaughter;” then selected scripts are chosen

for production.

Next, the students prepare for their unit project “Future World.” This project requires

students to film class rehearsals and presentations of the worlds they have created.

These film clips will be included in the culminating projects—movie trailer and

advertisement.

Moving from the short story to the novel, the students read Fahrenheit 451, utilizing journaling and discussion to critically examine and analyze utopias and dystopias

from all angles, culling real-world examples from the historically famous Hitler’s

Germany and the Puritan’s Salem. To increase student awareness of effective

storytelling, students use this foundational material to write a 2-3 page short story

about a utopia or dystopia, followed by assessment of all stories and an in-class

essay analyzing the elements underlying the ‘best’ student stories.

Students explore Fahrenheit’s theme of self-discovery through non-conformity by

investigating censorship and vigilantism in journals, and performances in the

me-box that exemplify conformity and nonconformity. Continuing with this theme,

students return to their journals to compare excerpts that discuss censorship and

its inevitable consequences. Students examine Thoreau’s “Civil Disobedience” and

King’s “Letter from Birmingham Jail,” in order to compare the effects of passive

resistance and violent vigilantism as catalysts for social reform. This prepares

students for predicting and writing an alternative ending to Fahrenheit in which Montag practices nonviolent civil disobedience.

Fahrenheit 451 is rich in its use of stunning literary device, providing excellent fodder for group work that invites students to identify, discuss, and analyze literary

device, culminating in group-produced written analysis. Students narrow the focus

as they complete a written characterization activity that identifies the dynamic

shifts in Montag’s character.

Students view Equilibrium, a film with powerful parallels to Fahrenheit 451, bringing the themes to the forefront with a visual and emotional force that invites fresh

perspective on Bradbury’s startlingly accurate predictions and insights. Students

then engage in a debate in which each assumes a character’s persona to argue

the utopian or dystopian status of each society.

The unit culminates with the Future World Project. Student groups collaborate and

create a fictional future world. Ultimately, each group presents a live, informative,

entertaining, and audience-interactive series of connected skits to “prove and

demonstrate” their created world. Each presentation must include a question and

answer session, during which the student audience challenges the efficacy of their

created world. Written preparation includes the typed 15 elements and a typed

proposal of the full presentation. Students also create a product for their Future

World and write a short persuasive essay that convinces their audience of the benefits of the product; this is the basis for their filmed commercial. Students

engage in critical organizational, management, relationship and leadership skills as

they perform or delegate the many details and responsibilities required to

successfully assume charge of the classroom during the entire period on the day of

their presentation. Teams will film the future world presentations for use in team

productions of movie trailers.


Creating “A Whole New World”

Presenting—Lamb to the Slaughter: After thorough analysis of Roald Dahl’s “Lamb

to the Slaughter,” student groups adapt the story to a film script. Students take the

adaptation to Film Class where pre-production, production, and post-production of

the film will take place.

Creative Writing Essay: working from the pre-writing in their journals, students

write, revise in writer’s workshops, and edit a 2-3 page short story about their

utopian society. On essay due date, class will engage in a read-around, and will

vote to establish the 3 best short stories. Journal prompt on following day asks

students to analyze and discuss why those stories are the best—what do they

have, specifically, that makes them more effective than the other stories?

Characterization assignment: Teacher provides students with 3 passages from the

Fahrenheit 451 that characterize Guy Montag—one from the beginning, before he

meets Clarisse, one in the middle, when he suffers his greatest internal conflict, and

one from the end, when he has found some measure of peace with himself.

Students write one paragraph of close-reading analysis for each of the 3 passages,

allowing them to realize the dynamic changes in Montag’s character.

Debate: students assume opposing characters, either from the movie Equilibrium or the novel Fahrenheit 451, and debate, in character, using arguments their

character would presumably make based upon our knowledge of that characters

actions and motivation.

Storyboard and Script: Students write and storyboard scripts based on adaptation of “Lamb to the Slaughter,” then selected scripts are chosen for production.

Lamb to the Slaughter and Future World: While Lamb to the Slaughter films are

being made, the English class begins work on Fahrenheit 451 and “Future World.”

Student groups are formed for filming the adaptation project and for filiming

“Future World.” The roles of each student will change as they rotate between the

two projects. The “Future World” project requires students to film class rehearsals

and presentations of the worlds they have created. These film clips will be included

in the culminating projects—movie trailer and advertisement.

Movie Trailer and Advertisement: Students edit a trailer/advertisement short for Future World production. Students produce a movie trailer of their future world production—students film all the productions and put together 5 or 6 trailers.

During the evaluation students will compare and contrast their projects, pointing

out the appeal, technical skills, editing - in order to judge effectiveness of the trailer.

2-3 Page Short Story: Working from their journals, students write a 2-3 page short story about their utopian/dystopian society. The three best short stories are determined by student read-around and voting, followed by an in-class essay that asks students to analyze the elements behind the effectiveness of the best student stories, increasing student awareness of effective storytelling.

Alternate Ending: As an in-class activity, students predict and write an alternative ending for Fahrenheit in which Montag practices nonviolent civil disobedience.

Characterization Activity: Students complete a written characterization activity that allows them to identify the dynamic shifts in Montag.

Future World Project: In groups of 4-6, students will create a fictional future world. Each group will give a 30 minute interactive presentation on their Future World.

This must be an informative, entertaining, interactive series of connected skits; and must include some audience participation. PowerPoint and/or movies are not

permitted; props and costumes are required. The presentation must appeal to all 5

senses; each group must prove and demonstrate their world throughout the entire presentation, and must continue to do so during the question and answer session

that follows the presentation. The question/answer session is often referred to as

“burn time” or “hot seat time,” and is part of the presentation score. Each member

of the group must participate equally in the question/answer session. During the presentation, the class must pay attention to any ‘holes’ in the logic of the world

presented, jotting down challenge questions for ‘hot seat time.’ Phase 1: Group

members collaborate on, prepare, and submit a typed description of each of the 15

required elements of their future world: government; education; homes; work;

economy; leisure; family; food; clothing; climate; ecology/environment; other life

forms; peace or war; quality of life; and health/health care.

Persuasive essay: “Future World” groups decide upon a future product that is used in their future world, and each member will write a short persuasive essay that convinces their audience of the benefits of the product.

Create a Commercial: Students write scripts for commercial project based on their

future product. Timing of the script: Introduction: 10 seconds; Action sequence: 15

seconds; Selling: 5 to 10 seconds. Students form groups to film and edit

commercials. When projects are completed, class reviews all of them.

Unit 5: Shakespeare and the power of perspective, performance, and presentation

Essential Questions: If “all the world is a stage,” what is our part in the powerful play

of life? Does our part, or story, in the grand stage of life belong to us, or to our

“audience?” Is life a weaving in and out of many interconnected stories?

In this unit, students critically examine Shakespeare’s A Midsummer Night’s Dream

with an eye towards a sophisticated appreciation for Shakespeare’s unparalleled

literary genius. From complex, cohesive plot structure to highly entertaining

characters to the brilliant use of literary language and device, “the Bard” has no

competition. In addition, through the start-to-finish group presentation and filming

of a chosen scene from Midsummer, students continue to build on their organizational, management, relationship and leadership skills while

simultaneously gaining an educated respect for the behind the scenes preparation

that under girds all large projects, a realization that increases their appreciation for

the performance itself.

Students begin with the “Insult Kit” activity which establishes student comfort with

Shakespeare’s daunting and often archaic Early Modern English. Students take Cornell notes as they read the play—paraphrasing, summarizing, and defining

words, all critical to grappling with the language and nuances. Students view the film “Oscar,” for the simplicity and overacting that provide rich ground for

discussion of scene changes, dialogue, timing, and actor interpretation of

character; in addition, the daily “copy-cat” activity increases students’ tolerance for ambiguity. To prepare for the “impossible scene” activity, students view a clip from

the film “Shakespeare in Love”—specifically, the production of Romeo and Juliet in the Globe Theatre. The camera moves from stage to frenzied backstage to

enraptured audience in a delightfully realistic celebration of the relationship

between the three, leading to class discussions that note the audience suspension

of disbelief and catharsis. Students use journals to create impossible scenes and then collaborate in groups as they devise methods for staging their colleague’s

scenes, ultimately choosing and presenting their “best in group” scene for the

appraisal of their peers and instructor.

Students form into groups for their Research and Scene Presentations. The

experience gleaned from the Future World projects is invaluable here. Students

conduct research on one of the following: William Shakespeare: The Globe Theatre;

the History of Theatre; Comedy and Tragedy; The Language of Shakespeare; or

Elizabethan England; and create an annotated bibliography to contribute to the

group. Groups use the annotations as the basis for an Instructive Presentation on their chosen topic. This provides students with perspective and a deeper

understanding of Shakespeare, his time, and his plays.

Students now view Michael Hoffman’s film adaptation of A Midsummer Night’s

Dream, and journal on the unique setting. Viewing the film before a second, live

reading in class breathes life into the play, increases student comfort levels, and

assists student troupes in their scene choices. Each day’s screening includes a

discussion of insights gained through viewing that are not apparent in reading,

enforcing the idea that Shakespeare is meant to be performed. Students recognize

and journal on the strengths and weaknesses of literature vs. theatre or film.

Students are now prepared to demonstrate the skills they have learned throughout

the year—their understanding of the play, their knowledge of character and

motivation, the importance of setting, and the mood created by music and actors’

performance—by adapting a scene from the play to any era and any setting. While

working on scene presentations for homework, students read the play aloud in

class, utilizing extemporaneous ad-libbing in modern English to increase

comprehension and inspire the option of presenting their chosen scene in 2 ways:

traditional Shakespearian and a unique linguistic adaptation. To conclude and

assess the traditional academic study of the play, students take a multiple-choice

exam and then write an in-class essay.

As culminating Scene Presentations approach, students are meeting and

practicing furiously, calling many skills into play: team work; interpersonal

relationship skills; fair division of labor; realistic expectations for self and others;

time management; leadership; etc. Instructor will monitor troupes and provide

tailored assistance and support as needed. Concurrently, student groups are

preparing to film the different scene presentations. The film-makers edit and make

of the presentation their own movie, or story: for example, one group might decide

to interview the actors as they prepare and rehearse, and interweave this with the

performance for a ‘documentary’ of that scene presentation, providing a

connection to discussions begun in Life of Pi: Whose story is it? The acting

troupe’s? The filmmaker’s? The audience’s?

All film projects from second semester are transferred to DVD and viewed in class

for peer to peer critique and grading. The semester concludes with an examination

of how the powerful play goes on—students view a clip from “Dead Poet’s Society”

to underscore the question: What part will each student give to the powerful play?


Shakespeare and the Power of Perspective, Performance, and Presentation.

Copy Cat: Students duplicate the performances of actors from films, which have

been viewed in class, as a way of assisting their tolerance for ambiguity. Practice is

the key to performance and to strength in the presentation.

Impossible Scene: The focus of this assignment is the theatrical suspension of

disbelief and audience catharsis. After watching the movie Oscar and a film clip

from the end of Shakespeare in Love, the students journal and discuss the relationship between the camera on stage, the frenzied backstage, and the

enraptured audience. Students trade journals and devise a way to present their

colleague’s impossible scene. After groups choose the best in group scene, each

group will roughly present their scene, substituting verbal explanation for their

devised backdrops, props, costumes, sound effects. Instructor and class provide

feedback as to the feasibility and potential success of each scene.

Research Project: Each group is assigned to research one of the following: William

Shakespeare: The Globe Theatre; The History of Theatre; Comedy and Tragedy;

The Language of Shakespeare; or Elizabethan England. Each group member is

responsible for producing an annotated bibliography for their portion of the

research; the group then compiles them alphabetically in one document for

submission.

Instructive Presentation: --connected to Research Project: Each student group prepares an instructive, 15-minute presentation for the class. They become the

teacher for their research area. Presentations must employ all manner of creative

learning by appealing to different learning modalities and the 5 senses—build

models, demonstrate in a variety of ways (including skits), provide food to taste and

fabric to feel, create learning handouts. A typed proposal of the presentation,

including each group member’s responsibilities is submitted to the instructor at

least one week before presentation.

Performance: After careful reading of Shakespeare’s Midsummer Night’s Dream,

students demonstrate their understanding of the play, the characters and their

motivation, the importance of setting, and the mood created by music and actors’

performances, by adapting a scene from the play to any era and any setting. The

students adapt the language to fit the setting, and they create sets to enhance

their interpretations of Mid-summer Night’s Dream. Once the scenes have been scripted and the storyboards are complete, the students perform and film their

productions.

Scripts and Storyboards: Write scripts and storyboards for each presentation of

scenes from Midsummer Night’s Dream. As the scenes are filmed by student groups, the students learn 2- camera work. They work together to edit projects.

Make the Film: Film-makers edit and make the film their own. In other words, the

students are filming and editing other groups’ work, so they may or may not have

the same vision for the end product. This demonstrates the effect that each

member of a film production has on the final outcome.

All projects from the year-- adaptation, documentary on class performances,

commercials, et al.-- are transferred to DVDs and presented in class for peer to

peer evaluation and grading.

The Oscar Goes To…: Students prepare a nomination list and update the class

website to showcase their new film projects. Teachers and students are invited to

nominate projects for best award in a certain category-- best actor, best

supporting actor, best director, writer, camera, sound, and editor.

Textbooks:

Textbooks will be used throughout the year to introduce students to new concepts

and academic and technical vocabulary. The following are the suggested texts for

the course:

Screenwriting for Teens: The 100 Principles of Screenwriting Every Budding Writer

Should Know, 1st edition, 2006, by Hammett Christina, Publisher: Michael Wiese

Production

Video: Digital Communication and Production, 2nd edition, 2007, by Stinson, Jim,

Publisher: Goodheart-Wilcox Co

Holt Literature & Language Arts: Fourth Course, 2003, Publisher: Holt Rinehart and Winston

The students are introduced to the elements of story, camera work,

characterization, motivation, and nuance in performance through the reading of

several short stories, non-fiction literature, poetry, and novels:

Holt Literature Language Arts: Fourth course:

Short Stories:

“Contents of the Dead Man’s Pocket” by Jack Finney

“The Cask of Amontillado” by Edgar Allan Poe

“Everyday Use” by Alice Walker

“Two Kinds” by Amy Tan

“Lamb to the Slaughter” by Roald Dahl

Poetry:

“Shall I Compare Thee to a Summer’s Day?” by William Shakespeare

“We Real Cool” by Gwendolyn Brooks

“Jazz Fantasia” by Carl Sandburg

“Grape Sherbet” by Rita Dove

“The Legend” by Garrett Hongo

“Simile” by N. Scott Momaday

“The Taxi,” by Amy Lowell

“I Am Offering This Poem,” by Jimmy Santiago Baca

“since feeling is first,” by E.E. Cummings

“Heart! We will forget him!” by Emily Dickenson

“Three Japanese Tankas” in the Holt textbook.

From website:

http://www.eecs.harvard.edu/~keith/poems/tyger.html

“The Tyger” by William Blake

http://www.wuhsd.org/cms/lib/CA01000258/Centricity/Domain/18/assignment_e9.pdf

“Letter from Birmingham Jail” by Martin Luther King, Jr.

http://thoreau.eserver.org/civil.html

Civil Disobedience by Henry David Thoreau

Movie Reviews:

From local and national publications.





http://thoreau.eserver.org/civil.html

Novels:

Life of Pi: Martel, Yann. Life of Pi. New York: Harcourt, Inc., 2001.

Of Mice and Men: Steinbeck, John. Of Mice and Men. New York, N.Y., U.S.A: Penguin Books, 1994. Print

Fahrenheit 451

Bradbury, Ray. Fahrenheit 451. New York: Ballantine Books, 1953. Print.

A Mid-summer Night’s Dream

Barnes and Noble Shakespeare. A Midsummer Night's Dream. New York: Barnes and

Noble, 2007. Print.

Excerpts from Harry Potter, by J.K. Rowling

Documents

Title: Language Takes the Screen Length of Course: Full Year (2