“’It’s Movie Day!’Lights go off, heads go down, and teachers finally get some grading done. Using film in the classroom is better than this, of course, but every time I wheel that VCR down the hallway, I know what the other teachers– and my principal– are thinking: ‘Is Golden showing another movie? Doesn’t he teach at all?’ All right, maybe they don’t think that; maybe I only think they think that, which is just as bad. Why do we still feel somewhat guilty about showing a film in school? Maybe because everyone in the school knows about that one teacher who shows all the Star Trek films to his classes three times a year” (Golden)

• Why does it have to be like that?

• We, like Golden, are proposing that it DOESN’T.

• “Great films are the modern vernacular equivalent of ancient classics, embodiments of the human capacity to imagine and create in a commonly understood language. Great art represents the highest use of the creative spirit and provides a uniquely aesthetic experience. What others have attained in poetry, prose fiction, music, theater, ballet, and opera, filmmakers now attain with the tools and techniques of cinema” (Nichols)

“OGRES ARE LIKE ONIONS!”PEELING BACK THE LAYERS OF FILM AS TEXT

• Studying film as text embraces almost all areas of English instruction, including media literacy, student engagement, reading and writing informational text (through film criticism), differentiating instruction to accommodate varied learning styles, and developing a way of teaching students to analyze literature in a medium that not only piques and keeps their interest, but also prepares them for high stakes tests such as the EOC or HSAP.

• We’d like to get started with some film clips you might recognize…..

• During this video, we invite you to do the following things:

• 1. Record your initial response a few titles that resonate with you.

• 2. Record any personal connections you make with those.

• We’d like you to try to record at least three responses as or after you watch. Try to record a combination of both initial response and personal connections.

IF YOU DON’T MIND….• We now invite you to share one or two (or all!) of your

responses with someone near you.

• What were your reactions? What feelings were elicited? What memories were stirred?

• Take a minute to share with a neighbor.

•“Movies deliver a powerful emotional impact distinct from the impact of other media. This, too, relates to the ability of moving images to bring situations and events back to life on a screen as well as to aesthetics” (Nichols).

• In short, films are powerful. Why on earth wouldn’t we tap into and embrace that power?

•Brainstorm: What is your definition of a text?

Consider these…

1. Text: A coherent stretch of language that may be regarded as an object of critical analysis

2. Text: A stretch of language, either in speech or in writing, that is semantically and pragmatically coherent in its real-world context. A text can range from a single word to a sequence of utterances and sentences in a speech, a letter, a novel, etc.

(Carter and McCarthy)

So, why not films?3. “a text may be defined as a relatively independent and hierarchically structured linguistic unit which reflects a complex state of affairs and has a specific communicative intention” (Glaser)

Again, why not films?

EXPANDING OUR DEFINITION OF “TEXT”

WHY USE FILMS IN THE ELA CLASSROOM? 1. For Engagement and Interest

a. Piquing interest in a topic/skill, maintaining interest in a topic/skill through a medium in which they are likely already inherently interested

b. “Even contemporary classics…often prove challenging, particularly for reluctant or unenthusiastic readers. And yet, we want them to understand these works because they have something important and enduring to say. Using film is a way to help them do this, whether with the filmed version of the same story, in whole or in part, or a companion text that complements the themes, characters, setting, or conflicts of that story” (pbs.org).

2. As Valuable supplemental and complementary texts to core novels/units

c. To EXPAND a unit, rather than make it redundant

3. To both teach and reteach core English skills as defined by the Common Core Standard initiative

a. Skills and concepts necessary to implement Common Core teaching in your classroom are easily accessed and honed through film study

WHY USE FILM IN THE ELA CLASSROOM?• ON a basic level, standards aside, we use film in the English Language Arts classroom

for the same reason we teach beloved novels:

• “I think in art, but especially in film, people are trying to confirm their own existences.” –Jim Morrison

• They transport, inspire, educate, sadden, empower, cheer up, etc. They allow and encourage escapism.

• Because “every encounter with a cinematic world is more like a guided tour, and every tour guide, or filmmaker, has her own perspective on the film world she displays for us. Viewers need not accept the filmmaker’s perspective, but they cannot escape it either” (Nichols).

• In short, films accomplish the same things emotionally that any treasured novel would. They simply must go about it a different way.

HOW NOT TO USE FILM (WHAT WE’D LIKE TO MOVE AWAY FROM) • The tendency to make a film’s function in the classroom become “reward”

• for “getting through” a unit or “getting through” a novel; for good behavior; in exchange for completion of other tasks, etc.

• The tendency to use film time as a break from actually teaching

• Lessons and activities using film should be just as rigorous for both student and teacher

• They should require as much planning and effort in execution as any other stimulating lesson

• The tendency of English teachers to default to the film-version of a novel

• Supplement and/or complement the core novel/unit as well!

AN EXAMPLE OF FILM INTEGRATION IN THE ENGLISH I CLASSROOM

• “It…works well as an introduction to film and literary analysis, since the characters, conflicts, and themes are obvious, but also meaty enough to support extended writings and discussions” (Golden 98).

• As you watch the following film clip, we invite you to do the following: Record any and all examples of literary elements or figurative language used.

AN EXAMPLE OF FILM INTEGRATION IN AN ENGLISH I CLASSROOM

• Data Sheets:

• Simple, yet comprehensive snapshot of basic, standards-based, literary analysis skills

• Given as a pre-assessment the first week of school (met with MUCH ADO from my students) on short story “Shame” by Richard Gregory, with pretty horrendous results

• Enter: Literary Elements Review Unit (in preparation for study of Bronx Masquerade thematic unit)

• Basic lessons on literary elements leading up to scaffolded, 3-day close study of the film “Shrek”

• Students must view film ACTIVELY (stress this!)

• Data Sheet broken up into four independent sections (handouts)

• Students divided into small groups, each group assigned a section of which to take full ownership and responsibility, although students analyzed film for evidence/examples for ALL sections

• “Jigsawed” all groups’ contributions and conclusions into a collaborative Data Sheet that students received copies of, referred back to throughout subsequent units

SAMPLE END RESULT

SAMPLE END RESULT

SAMPLE END RESULT

SAMPLE END RESULT

COMMON CORE STANDARD CORRELATION

• CCSS.ELA-Literacy.L.9-10.5 (Language) Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

• CCSS.ELA-Literacy.L.9-10.5a (Language) Interpret figures of speech (e.g., euphemism, oxymoron) in context and analyze their role in the text.

• Depending on the task you have students engaging in during a film and the film you are using, this can be easily applied.

COMMON CORE STANDARD CORRELATION • CCSS.ELA-Literacy.RL.9-10.3 (Reading) Analyze how complex characters

(e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

• CCSS.ELA-Literacy.RL.9-10.2 (Reading) Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

• “Contemporary thinkers on media literacy have argued that the same habits that a good reader brings to a written text are those that a critical viewer brings to a visual text; enhancing one effortlessly enhances the other. In both, a critical thinker predicts, makes connections, infers, asks questions, and interprets. In both, meaning is made through the details of character, theme, plot, mood, conflict, and symbolism. For both, we must guide students to be active interpreters” (pbs.org).

COMMON CORE STANDARD CORRELATION • CCSS.ELA-Literacy.RL.9-10.5 (Reading) Analyze how an author’s choices

concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

• “Film worlds seem autonomous and complete…It is important to remember, though, that these worlds are the product of a creative process and that they are seen and represented from the distinct point of view of their creator” (Nichols).

• CCSS.ELA-Literacy.RL.9-10.7 (Reading) Analyze the representation of a subject or a key scene in two different artistic mediums, including what is emphasized or absent in each treatment

• In other words, the skill of cross-medium analysis and criticism of the same text/scene is not completely abandoned by Common Core

A LAST THOUGHT…• “Irony in film is all about ‘puncturing the expectations of the

viewer’…we’re not talking about surprise or twist endings in film…nor are we talking about satire. The best examples of irony in film are the ones hinting that the meaning intended by the director (or writer) is the exact opposite of what he or she appears to be presenting” (Golden 88-89).

• Critical film analysis can be a rich, multidimensional, meaningful process for students.

FORMS IN ENGLISH CURRICULUM

What forms of text do you use in your English Classroom?

PONDERING FORM

“The look of a painting, the flow of a novel, and the shape of a film all accomplish the same thing: they produce the viewer’s immediate experience of a distinct world. Pondering its significance follows from active engagement with form.”

(Nichols, 2010, p.13)

• Fiction

• Poetry

• Epic

• Ballad

• Haiku

• Sonnet

• Novel

• Short Stories

• Non-Fiction

• Articles

• Essays

• Memoirs

• Academic Texts

FORMS OF TEXT IN THE ENGLISH CLASSROOM

ALL OF THESE HAVE SPECIFIC CONVENTIONS THAT WE STUDY ACCORDING TO THE SPECIFIC FORM!

OUR COMFORT ZONE

“As English teachers we feel comfortable discussing the important elements of a poem, short story, or novel because we have had practice and background in discussing the effect that, say, word choice, meter imagery, or point of view is supposed to have on the reader. We know that a poet, using a particular rhyme scheme or metaphor is no doubt doing it on purpose, and we are able to guide our students to recognize the craft of the writer in doing so. Like a poet, a filmmaker uses various devices and techniques for a desired effect.” (Golden, p.1)

FILM STUDY W/ NORTH BY NORTHWEST

• Look at the terms on your list.• View North by Northwest. cropduster

scene.• Watch for increase in cuts, length of shot.

Nondiagetic sound.

QUESTIONS TO CONSIDER

• What does Hitchcock do to make the scene suspenseful?• How does he show Thrornhill’s

vulnerability?• Why does he wait to use nondiagetic

sound until the very end?

Inspiring Writing with Film

FILM AS A VEHICLE FOR WRITING

• Script Writing

• Settings

• Descriptions

• Shot Movement

• Dialogue

• Storyboard Activities

• Film Review

• Film Critique

• Viewing Journals• Literary Analysis Paper

• Comparison Papers

WRITING IN FILM STUDIES

Writing About Film Imitating Film Writing

The Film Review

• Critical Form

• Critics/Film Fan Audience

• Goal is to analyze the film for conventions, form, quality, writing, cinematography and acting.

• Created to further discussion and understanding of a film or the discipline of film study.

• Very Familiar Form

• Public / Consumer Audience

• Goal is to convince viewers whether or not to see a film.

• Created for viewers who have not yet seen the film.

REVIEW VS. CRITIQUE

Film Review Film Critique

CritiqueFrom Review to

Film Reviews are more familiar to students and therefore a great opportunity for scaffolding.

Both Require:Close-viewing/ note-taking.

Knowledge of Plot

Understanding of Theme

More accessible/familiar form for students.

Familiar Audience

More focus on plot synopsis.

More brief.

Review CritiqueHigher-Level Analysis(higher-level thinking and depth of knowledge)

Less focus on synopsis, more focus on analysis.

More extensive writing.

An English Elective that Reinforces English Skills

CREATING A FILM STUDIES CURRICULUM

Reading in the Dark John Golden (2001)• Great book for either

English or Film Studies classrooms

• Practical lessons and suggestions for using specific films.

Brian Smilanichwww.filmlit.ca• Great Suggestions

for films to use as well as lesson plans and links to other web materials.

The Film Foundationwww.storyofmovies.org• Film Study resources

• National Film Study Standards

• Cross-Curricular Resources

Films List for My Classroom• Films, Genres, Ratings,

and Objectives

• Keep in mind the culture of your school.

• Keep parents informed.

• Opportunity to reinforce English Curriculum.

• Improve Critical Thinking and Media Literacy.

• Promotes Arts and Culture.

• Provides Opportunities for Cross-Curricular Collaboration.

A Film Studies elective is a unique way to raise

expectations and increase academic rigor in a

subject that students will enjoy.

BENEFITS OF FILM STUDIES ELECTIVE

• Get your Administration on board.

• Ask them to observe you teaching a film lesson.

• Make your objectives clear.

• Bring in National Film Studies Standards

• Tie in ANY applicable Common Core State Standards.

• Conduct interest surveys with students to show potential enrollment.

• Get your Media Specialist on board

• Promote course as Media Literacy

• Get support for use of video according to copyright law.

• Get Guidance on board.

• Promote this class as an option for those interested in the arts.

• Promote the course as an option for visual learners.

IDEAS TO CONSIDER IF WANTING TO CREATE A NEW FILM STUDIES COURSE

• Fair Use

• Kastenmeir Guidelines

• Teachers are required to fill out a form

• Check with your Media Specialist for the policies in your district.

COPYRIGHT

KASTENMEIR GUIDELINES The copyright law did not address the question of off-air recording by instructional

institutions, but a committee of producers and users came to an agreement on guidelines.

If the guidelines developed by Representative Kastenmeir’s Subcommittee were

followed, a user would have strong evidence of a good faith attempt to act within the

parameters of Fair Use. Off-air recording guidelines apply only to non-profit educational

institutions. A broadcast may be recorded simultaneously with the broadcast (NOT

CABLE) transmission and retained for a period of 45 calendar days after the date of

recording. Upon conclusion of the retention period, all off-air recordings must be erased

or destroyed.

An off-air recording may be used once by an individual teacher (in each of his or her classes) in the course of relevant teaching activities. It may be repeated once and only once if instructional reinforcement is necessary in the classroom and similar places devoted to instruction within a single building, cluster or campus as well as in the homes of students with handicapping conditions that prevent them access to regular classes during the first 10 days of the 45 day retention period. Off-air recordings may be made only at the request of and used by individual teachers and may not be regularly recorded in anticipation of requests. No program may be recorded more than one time by the same teacher regardless of the number of times it is broadcast. A limited number of copies may be reproduced from each recording to meet the legitimate needs of teachers under these guidelines. Each such copy shall be subject to all provisions governing the original off-air recordings. After the first ten consecutive school days, the only use that can be made of the recording is teacher evaluation. This evaluation is to be used to determine the likelihood of using programs in the series or in purchasing a copy of the program. Off-air recordings need not be used in their entirety. The sequence of use must follow the order of the program and the recording may not be altered and the entire program must be taped. All copies of off-air recordings must include the copyright notice on the broadcast program as recorded. Educational institutions are expected to establish procedure to maintain the integrity of these guidelines. (NOTE: If a licensing arrangement is available you MUST utilize it.)