DOCUM4T RESUMR1 the Units, Which Are Arranged Inaflogical Ordei of Pres Tation, Are Riticism4 and the Shape F Film to Com . Each

DOCUM4T RESUMR1

ED 140 313 S 203 425

=""

AUTHOR Dana, Jane; 'Zimmerman, LaNette . TITDE A Resource Unit in Film. Htlletin No. 7087. .INSTITUTION Wisconsin State Dept..of Public Instruction, r Madison. IRONS. AGENCY Office -Of E-adcation (DHEW),, Washington, D.C. RUB tATE [76] NOTE 49p,

. EBBS PRICE, MF-$0.83 HC-$2.06 Plus Postage. -DESCRIPTORS Curricjalum GuideS; *Film 'C'xititism; Film Industry; *Film proZuction; *Films; *Fi1m'Study4:Learning Activities; Secondary Education .a \--ABSTRACT The Units ot fils-in this 'curritulu f. guiaemay he used in sequence or as.needed tostrengthen.filmuill'es already, being taught. Since it was designed tc 9ffe4rranges of .4440e for A. variety- cf teachers, this resource guidecontains more-than an..individual teacher is likely to use inapatticular unit or course.i'Topies,of the units, which are arranged inaflogicalordei of prestation, are the nature of film, the tools"of film, thefilmmaking exp ielice, the forms of film, riticism4 and the shape f film to com. Each, - unit contains.% list of instrctional objectiveS,a'cont0 lists of learning activitie"s nd instructional assessment.pr and ieferences. (JM) .

Documents acquired by ERIC include many'informalunpublished * materials not available frota-othersodrces.: ERIC makes every effort * to 'obtain the best copyavailable. NeVertVeless, items.of marginal * reproducibilityaroften.encountere'd and this affects the gUality .* of tbe 14crcfiche an hardcopy reprodubtlons ER/C makes available . * 'virahe..fRIC Document ReproductionServiice (EDRS) .EDRS is not * reSponsible for the q ality ofthe origiral document. Reproductions *., '* supplied by EDRS are the best that ca5(be made from the original. *******t***************************************************************

- LI S. DEPARTMENT OF HEALTH, EDUCA-110N-11,WiLFARE . NATIONAL INSTITUTE 00 EDUCATION , THIS OOCUMEN.T . HAS BEE REPRO. DUCE?) -,EXACT.LY AS. RECEI ED BROM THE PERSON OR ORGANIZATI ORIGIN- ATING IT POINTS OF VrEW ORPIN-IONS 4 STATTO DO.NOT NECESSARILY REPRt- .4 SENT OFFICIAL NATIONAL INSTITUTE OF . EDUCATION POSITION OR PC1LICY

1441'.;.44 IN FILM

aaf by JarilAna;0, Edgewood High School Madison

. and , LaNette Zimmerman Sun Prairie High School ,Sun Prairie

1 ;published. by, , Wistcmsin DePartment of Public Instructioii Barbara Thompson, Ph.D., Sta_te Superintendent

. e "PERMISSION TO REPRODUCE THIS COPY- RIGHTED MATERIAL HAS BEEN GRANTED BY Wisconsin Dept. of Public'Instruction TO ERIC AND ORGANIZATIONS OPERATING UNDERAGREEMENTSWITh THE NATIONAL IN STITUTE OF EDUCATION. FURTHER REPRO. DUCTION OUTSIDE THE ERIC SYSTEM RE MIRES PERMISSION DF _THE COPYRIGHT * This project was supported in part bY funds under .1/4he nationaldefense &education act of 1958, Title III-A, as amended---P.L. 85-864, the U.S. Officeof Education, and the Department of Health,. Education, and Welfare. However,the opinions expressed herein do not necessarily reflect the position or policyof the IS.§, Office of Education, and no official endorsement by the U.S. OfficeofEducation should 'be inferred..

,Bulletin No. 7087

f=\11 TABLE OF CONTENTS

ACKNOWLEDGE*NTSij

FOREWORD ,v

INTRODUCTION vii .

I--Ar Nature of Film .; 1

, 'UNIT IIThe Tool's of Film: ,

UNIT IIIThe ,Film.Making.Experience ..16

4 UNIT IVThe Forms of Film 26

UNIT VFi\m Criticism 31

.UNIT yIThe Shap'e of, Film to Come 39 4. ACKNOWLEDGEMENTS/

..,. 'hie Wisconsin, Department of Public Instruction and the Wisamsin Commu- nication AsSociation wish to express appreciation for the timo, support, and assistance of the following in producing pis curriculum unit:

... * * * * * *

Ms. Jane Dard and Ms. LaNette Zimmerman, Authorg

*sconsin Communication Association _film Resource Committee TOny Goldberg, UniverSity of Wisconsin-SteVens point, Chairpers6n Jane Dana, Edgewood Sigh School, MAison LaNette Zimmerman, Sun iDrairie ,High Schotil, Sun Prairie . * * * * * * Wisconsin .Communication Association Editorial Advisory Committee Richard Barnes, University of Wisconsin-Milwaukee Chatles Brown, D.C. Everest Iiigh School, Schofield William Davidson; University of,Wisconsin-Stevens Point Shardl Parish, Memorial High School, Madison ' Sharon Sohner, Hamilton High School, Sussex Rbn Allen, University ofWis,consinTkadison, Co-chairperson Mary klein, Department of Public Instruction, Co-chairperson

a To4viroli1i

\ $eriessecof rots in \This pUblication.on fthb4 IAtreil'eN /41.1 .1sittlenc-Fleeprarrte,msclellliteet of public. the communication arto lAiall) t;,,i. IlY the icons.' o Litdcatlon ation. , histction in cooperaV V ' '` Associ . P \, . foal .inicati il units'in intO'vrs at v Qo d tei 4. and. ,- Ad itional lip 'b7 'r4C1i0' an > Visioll, puilie addreSs are plavfirdIcol ueyears. '. . , 1:"Itire\ plin alldlz joignea-to mtet the is' Tust unit of the oeraes on- 14 needs of secondary te0Arslazthe.evtlifounlu4hoil ::-0 whq h4ve resP 1 sibilities for teaching vithi# 4. f . . Ofich.ed. 08;306T:tit' so qiiree,ti binder The film resource unit ,i P 1 the thus allowing for adtOgscr0nsekts pr tio4 teacher finds necessary. , ..\ , p any goth the authors andtill6Dtrnbt/0)-71.1b.eInwoctionitQcome athj. t° 'esollree, suggestions or reactioT0 - d INTRODUCTION

With' increasing fre-quency, film courses and units Teachers new to the 4lisbipline df may be are finding their way into the currieula or Wis- surprised by the depth and range lof the content consin secondary sChools..The purpose of this re- in this curriculum, liowevei-, a' resource curricu- source curriculum is to pFovide a wealth ofinfor-; him 'shoOki contain more thaa an individual t'each-. rdation from which teachers may. draw as they er is likely .to utilize in a particularUnit or course. devise instructional programs 'in filmfor* their Its.cprnpwheisiveness is designed tit) offer rdnges ,students. 4 - of el-mice fgr- a variety of teachers. The units in this curricultitn are arranged in Although film courses are _increasing in fre what we consider a natural, ad* ofpresents.tian...- quency in the 'stateof Wisconsin, the iridivi ual The first tinit, "The Nature 'of Film," considers film teachbr .is still very xnuch the pioneer. W ile various approaches to-'ilie stUdy of filmas tech-s, this resourç curriculum offers 4 generalhat. of the terrain, teach. teacher must take a path con= nical phenomenon, as industry, ,as art, and as re- . . flection and shaper of values.. The. second unit, sistent ocal exigencies. "The Tools of Film," in considering the mechanics When film rmiking equipment is ar a mini- . , of film making equipment,. invites students to ex- mural, teacher will find it necessary to chnose periment with the medium as they develop"hands- .basic film production experiences fromthe cul-- on". familiarity with. technical potentialities and i riculum while Saving, complex experiences for d,'4101 'limitations.The .third unit, `-',The .FilM Making time when,more sophistiCated equipinent can be Experience,' moves from the equipment of the budgeted and purchased. .medium tothe aesthetic employmentI that equipment.The fourth and fifthunit ,"The 'The. acquisition of 'filn'Is for study -nuly also, Forms of Film" and "Film Criticism," provii e for constitUte; a problem for teachers new to the the exploration-,of sp cific form or genre (of film discip,line. The films suggested in the eurriculuen. and for the critical andlysis of filfhs against criteria are generally availablethrough public libraries, of technical and social ignificance. The final unit, at little br no cost, ari'd through_university bureilus 1' "The Shape, of Film to Come," invites the 'student of taudio`VisUal inStruction at nominal fees. HoW- to Araw. on" knowledge of the past,iand,fainiliarity ever, some of thesefilins must be ordered thronglf with the present, in speculating about the skillful rental houses at Commercial. prices.Information and imaginative use of film in the future:,. 'regarding filni.distribution iS-often ayailablefrorn 1 city libraries and nearby university media centers. Sortie teachers 'may wish to lisethis 'Material, Teachers on limited budgets may Wadily substi- in the sequence in which it is presented in the re- . tute available fiims for anY of those suggested in .source curriculuni.- In these cases, theteacher may draw 'frorh the:list of instructionalobjee- the currisculum.. tives, the content outline,.and the list of learning Since Win is a cornPlex Phenomenon in a stage activities.and instructional assessment procedue of rapid iclevlopment, teachers mii.§j seize, every those which seem most useful in adopting he":opportunity to grow knowledge thFough profes- itsof instruction to . particular instructio4. 1 -sional meetings, inserviceor7s-ops, on Campus _Zquirements. ., study, and professional reading. Wehipe that, this 'ilseful for thdse teachers Other teachers May wish to usf these materia 'curriculum will pKove to strengthen units already being taught. who have taken the time and effort to explore this scope of materials offered in this resource cut- exciting medium. 'riculum is such that a range of options are avail- 1 able to the teacher in making decision's about- Jane , course design infilm._ dNette Zi meridan

t.C2k UNlrf ONE THE NATUREOP' FILM ' -.- . Film is big busipcss.. From the director to the Introdkictoey 'Statcmcrt local theater projectionist, film involves a vast in- There is an area in the Itynatt mind (or heart) dustry. The student should comc to see film as. which can be reacked only- through ci tmly a mass rm!dium which involves many fieople through that cinema 'which is always aTake, iri production, distribution, and exhibition.Film alWays qhanging. Only sUch cinema caiX re- is.. not isolated from the.marketplaceEconomic , veg describe, make us oonsc'ous, hit at what considerations have plaSTed an important. role ih we ifeally are or aren't.; or si the true and .the development orf. the industry. .s . changing beauty of the world around us. ' Film has often been Jieglected as nn art form: 2-4onlis Mekas Pe-rhaps it is lob enjoyable too accessible to be N -"Notes on.the New' American Cinema" onsidered a . HoWever, this sc tioof* the , urlit allo students to consider how ay be viewed asAn art form: Film is a syntheticrt with Cinema is a powerful, fOrce in our society. We various ogier arts combining to create the whole. 'spend a lot of tinw with firtn. William Kuhns, in And yct, this unit seeks to sh.gw the students how his book, Explo'ring. the Film, states that it is esti- film isa.. unique medium with specialqiialities. ;mated, that by ineitime a, young person graduates apart from the;other arts. . frOm high school,.he or-she ;has 'already seen 500 ....--,/ Th6.final section of this unit -deals witfilm as firsuch feature films in theaters d the equivalent The of 7,500 tWo hour feature films on television. Film both an acstive and a passive-force in socetY. .th often taken fczr granted. The viewer saes a mi- student sees, through yarious activities, v film rage of images accomPanied by fullstereophonic is able to reflect the values of a soCiaty as well as sound as he sits in a plushly cushioned theater to influencvand shape values.Tlie potential in- chair munching popcorn. The "Si.k O'Clock News" Arrice thiit film has on social, polNeal, and ethi-, realize,d by the student. .; gives afirsthand view of major news events tak- ca mores must be ing 'place frbm Saigon to London. The "Tuesday 7After students have been exposed to ihese Vari= Night Movie" follows as a feature film is pre4ented -iins". appreaches to f m, they should see more clear- to its audience. Although'the qudntity of time st ly cinema'abil. es and potentials. The student dents spend as media eonsumens iS impressive, the ,'has grown cer to seeing that'ciftemhwhich Me- quality cif theirltalk about film is not. _ kas desctibes as able "tO reveal, describe, makeif con,Scioils, hit at what we really are6F:aren't, for The first Imit Of Plis film coursenables the sing the true and ehOging beauty of theworld student to get to know film a littleétter. In "The Nature of Film," the student seesthlt fil is- a &round usl"e . . composite of many things and that there are many tr, The actititiesoof this unit-involVe s6Yeral film faces to ;the cinta. The unit looks at ,film as a viewings and "hanfgon" experiences so thatt he technical pheno enon, film ag an industry, film as; student is able toc eate as- well as critically Con- an art, and film 6s a reflector andshaper ofsvplues. sume films. The experincesprovided in this unit The unit pluvides the stuclent with various ways formSly basis from. which to work thiough subse- in which one can approadh film. quent its. As the course unfolds, students' ex- . ,perience. with film will .1.itiCrease as they become In exploring film as a techniéal phenomenon, more involved in film' makingitself. the student gains al. Basic uqftrstanding of how I firm work4. A brief history 0' the technicaldevel- Instructional 1)jectivcs opment of film reminds the student that t4e art.of 9; - lm is. dependent on the technology atfilm". Early I. -After obserying an experiment using the.phi plqneers were interested in machineiyafer than ,phenomenon, the student will be Oilto ex--. - int. Throughout the years, 'developments infilin plain thai phenomenon in his/her 6w words. tehnoldgy preceded developinents in filiriart.. The 2. At the end of the unit, the student wij be able piirpose of....this part of' the unit is notto-give-stu-=:- :±to define theprincipleof ihtcrnit move.- but rather - demon- ./dents mass Of technical information, merit in -his/beri.wn words an , to acqu'ài.t thtiffi with the major developmentsin Sfrate that concept through the use of flip film techn logy. In the following unit, "Toolsuf c.vds. -.* 1 the Film,'the student "will learn more specific technical 'nformation riegarding the basic equip- 1.T onas 1ekas, "Notes on the New AmericanCin'enia," ment of film making. Film Culre (Spring, 19612), p. 18. - . 3.Give,n m erials, the student will be able to 14. Given a film depicting a hktorical event, the. 'draw a,ries of iniages on leader Vhich; when stieft'Ffil--111w,1fie able to.rocoiln.i4e the po,int of pro,d give the appearance If movement: view exbibixiby th6 film. ... , ...0 10. . . . en appropriate matprials, tl e student will 15. Without 'he Use of -notes and other materials, be able ter. cut out and constru t a movie ma tlie. student 'will be able to construct a sketeh i' chine that creates a maving im ge that is dis- of the rae of BOAS in ftlm history which in- cernibk to the'vibwer. eludesaat toast nine imtries liM,ed chr nologi- ,( 5.After constructing a paPer movie machine, the cally.. student Will ,be able to demonstrate mid ex- 16. -Given excerpts of films from differ nt eras, 1plain how the mechanistn works, The degcrip- tho.strident will be able tb correctly nWti the lion must fOntain the words persistence- of title of the films with economic descriptions of :vision,phi ',phenomenon,andintermittont the eras.

movement. . , 17. Given a specific era and a -film represe tative 6.After listening to an early, soilnd recording ! of an era, the stukcient will be able to.scribe from a film, the student will' be able to distin- " t'he psychological conditions peevalent in 'the guisht least:lour, qualities or elements of . at the time the-film was gene,d. stDe that makeitdifferent from tdday's socivty sound tracks.' 18.Gi'ven a list,Of six qlm kthanwteristics,.the stu- 7. After viewing a cartoon qnd seeing how the dent will correctly identify each ().f the kliar- ador proceo works,in p bdok, the student will acteristics as representative of ..contempZiry be' able to describe how the early techniqolor .religious filnis or religious films of the f 40g protess works in his/her own words. 19. GTVpnte,r4Fartime intervals; the student will 8. Given a 'copy of the eutreq Variety magazine; be abfe to name one star, who played a%lierO the student will be able to determine which image and one:.star who played an anti-hero contemporary movies are the mast successful image for each "'debacle and will identifythree Moneymakers and hypot esize reasons for the trends in hero/anti-hero Aereotyping. box office success. The ectiveness of the an- swers will bejudged on Jhe student's ability 20. After' viewing col-rimer:dal clips, the student , will be able to hypottiesize at- least thipe to-tww a4understandin of audience appenls, values of the society which produced the film. popular trends in film rles, tlie economic re- The alliAwers will be .jurdsged on ithe student's ,- lati9ship, of audience,t distributor' and pro- abilitytorecognize historical,s'ociological, dt14, thipcost -of proctiOn, anti eiiblicity economic, political,psyaiological,. religious, effects, .andJ ethicalAnoral irnplinati)ons in the corn, 9. diZen a list of the variouroiakin film pro- mercials. law ducti ,the student will babIJ,to iderrtify seven tific dUt s for eacl4 roles - 10, With the uof notes, the student will be abl 'to create a ibutiori/exhibition modelf ) Content Out ine the film industry such that' therelationship of :I. Film as- aechnical Phenomenon '71 the 'individual theater manager's position to A. How works the rest of the industry is.depicted. . 1. Persistence of vision a. A series of still pictures .6hanged rap- 11. After view.ing a film and reading a 'literary idlyuncovered long enough -to reg- version of 'the "ge \titles, the student will be ister able to list at leatt five distinctions between b..The-retina retains an image for a frac- the film and the literary portrayal. 4, tion of a second longeor than it actually ,12: Given specific rolesin a film production, the appearsdue to this blend of on'e pic- -.'student will 'be a to identify at ltst one turf tO another, motion appedrs 'artistic decision by each (51 thmnembers 2. Phi phenomenon of the,fil-cr(peeduc staff (e.g., wrifer, direc- a. A mental phenopenon not-in our eye tor, cameraman, a , editor, lighting techni- the braingrapstheillusionof . cian, costumer, chore grapher, set designer). movement 3 b. Created rwhen' two, light bulbs are 13. i.wen specific examples of films, the student turned on and off in 'alternating fash- ill be able to identify at leasit five tyTes of ion until viewer perceives \ values'each film reflects or shapes. between the two bulbs A :j 3. Intermittent 'movement 4. Many iniolved.lii exhitPtion apt dis- n, Projector or" camera'shows one fr trilitillop - t o long enoughto be svn or exp iscd, 2. Mass atsulience . then coversitup and sl neNt ..a.liiteitt. to keep cost low and bring in frame large iitahetre .. b, Stop,.:nd-go Motioi" 41u- projector b. Audioncq' d'esires and dethands ex- or awcra . IA'cIlielyi thport ant. (1) un-18 fromosor sewn( nor- C. Filtil;1.; a I oillipetiliV syterli mal running time 1. .Within tlielndusjry,, a i 40.(2) 16mm--24 franws pc second nor a. .Studio rivalry mal runnhig time b. Distribirtion,'exhibiti4 competition B. The inventionchild of iitifeneti c. World maryt .1. MartY persons contribtitcd to diseovery4, 2'.With othermediae , of the motion picture a. Iniluenue of, TV' a. Rogetpersistence of vicron ,(1824) (1)l.,09t aud,i9neo b: Paguerrephotographie process (2) Film forced to adapt (1839), (a) Specialized, .audienee c. Eastmancelluloid base film (1688) (liii CensorshiP Lsed 2. Much happened ,simultan66usly in de- (c) Bridged with TV to produe,

and exhibit . f. veloping 'Prnovirsig pictures" . a.' KinetoscopeEdison_Dicksen; U.S. '(d) Innovution and 'new, tech-.

. b, CinematographeLumiore Bros.; . niques,used , France b...Integration wit,h other media., more common thap competition "' , )3t. -.,c. BioskopSkladawski; Germany , 0 3. New inyentions to provethelihri ,(1)t Multi-media theator , (2) Movie adaptatiorti Of novers'-"- medium . . . . a. The advent of so (1) Developed by DeForest III. Film as an Att. .. one" by Warner A. dteativ .:fdt'm of expeesSion . (2) Called "Vita B. New, a t.forM (most r,ecently'created) -Bros. C. Sy4the art--othizr arts colit ed (3) First 'u)cdinfilm, "The 'Jazz 'a ..-----4..., . 1. Photofraphy'- !- niger7 (4927) , b.Introduction of color . 2. Music .. .--, (1) -Early Color achieved by tinted k Theater stock and hay painting 4. Dapce (2) Rendered ptographicalfyby 5. L'iierattirai coating-with blor-sensitive ehem- a, D. Distina ,arf form' , a iCals 1. Different thhti theatel Technical -developed. by Herbert. .a. Performance TeCorded- .. . r) (3.) . 'b. Audience experiences a different clis- Kaln-ius a tance and ,-.'siiew oiAts from .action (4)First used in W-alt Disney car-, toons c/ Films greajr capacity for timesand c. DeveloPments Within' theater exhibi- .§ ace 2. Different t literature A . tion -, (1) 37D \ a. Film is insjantarieous Comm 611 (2) Wide screeti,ciaikerama, Cinema- vs. literature's slow, lihea ebrninu 41,.) scope cation / b. Audio-visual,v4.,pri.inedjuila . . II. Film as an Industry U.S. c. The-;expetiencfn t-ntifely dffiere A. Filfn as a commodity E.M ny maY be consided artist in filrii .- 1. Passed from producer to 1. irector 2. Pressures structuringi fllrp- based. rnore . Editor on social and economic conditions and; . Actor relations than on gpative potentials Screeriw r' B. Film-as a mass medium 5. Desi sart, costuinertmakeup 1. Mass manufactured 6. Cameraman a.--Many involved in preductionpro- ducer, backers, writer, director, de- IV. Film as a reflector and shaper4 of values in, signers;unitproduction panager, society cameraman, make-up man, script girl, A. Higtori 1 editor, composer, and publicist 1. Reflect events and conditions of awera,- .. . '. -,--- ,. .. , 4., e'.;'..,411,iit'quitotly nasassination Trile..tildetliS. ShOlild ii'pl'OVid-t1 2, Shihihsfan'''. rkrciiip 1' to INI . of Iit,'..t. 0r4 t,;11 i i;ilrit..s, of hip c.nds which, when :A1(11110(1, 9 ....;e,vvnts. peOple, lind conditions, t..g., (..7tufg . f;ive.tlie impiession ofRovtifient. The s1.2..k '1. ,ter's Last Stand e4..nts :1}4.' 10 AtOrk *ithiii1C`I'ill'(iti niantl- .. 4 'IA, -..., 4 B.-rSPeiolocarPj 1 I . : ffily such that, they exploev the concept of 1.) .iieli4+44S;ttl titIniC'ti, leCl'A inter: (lion. :it'd iintcrini I tentmovein(i\ ItIt):;e0lioWthy condition s,. e.g., pri:ji dice, ipi;oi are Afe-ted )y.V:lripll:spovds. 9 In'fri.tences,, attitakde*fe -mrsuasively, vow- TI.1y Shoffid cHlIsitki; IloNv I(InIf 0111, illiage meld:4 1-`n :estate, Night of the mil- mist appear bi:fole it re;i:41,(rs Visually. Vaker 7,, C..Econoinic 1),,Th,ii.;tr:,cipr will proiil('\litestudentr; with Ilinimleilili,r,magic 1 tiefleas economic influiqices of an era, transparent foi!sichls of depression er:i markeps, "and crayons; or ally .other desired 2. Sh'ape:r attitu.des regarding, condl'Aons; elate The studentWill Proceedto '1 e., stfeet films of,Gormairy 4raw On Ile leader knowim: SO flt Ufnum Politi al 1.1411.1 Nel %.1 through the projector it .24 1.7.11ef otts p&litit al ide6logy, Lehi 'Hie- fraine.ier second find (2) the posi on of itcristIthl's filnof 'Nazi Germany - the fra ne between he sprockets. TI e students may e'xperim lit with .these materials . 2.1§papes attitud6s toward political situ Russian films of the 20'os any Nv:iy they' wish. When completed, the Pvctiblogical 4. leader will be projeseted.Va'rions imisical J-. 1.-RA:f1eets conditions of. an era, a caintry, moods .may be provided to t,iccompany the atilm maker, e.g., 1)r. Caligari" images. A rliscmisionu.f---the effects will

Tollow. . 2. Shaks OerceptiolisL---Psychologieally per- ... ) . ,) - , ,, , , suaSizoc, e.g., comikiercizils . , Using the book, Paper Mov;a Alaehi)?e.;, , F. Religions . %. . tile students will construct paper movie 4...,1. Reflects the attittides toward religion, machines, suph ;.-4; a Kinetescope, a Praxi- , o.g., eras of refigibus.)4pularity., 2:Shppes impresyons 0 religious events, noscopc, or a Zocetrope. They will discuss the mcchanism of their machine in.groups. e.g., Cecil B. DoMille's spcfta.culars . '-` .and then make a presentatien to the class hical/Moral.,'. Reflects society's- v lues, e.g, hero/anti- showing how their machine works, telling \." of' its inventor, and providing any other hero images relevant lafinrmation. 2. ShapQs society'smOres, e.g., seXualitin . , - films OP j, F. The students will listen tO 8recording from '" r an early sound movie. ExIimples might be _- ' , en from W. C. Fields, 'Mae West, or Bus- ;IlarnO1g-Acti ilfies ,Be;keley .movies.' The students should . e able to analyze the quality and style of ., ...;...I. Activities .Relating tp Film .as Technical that sound track and hoW, it compares to PhenoMenon sound in movies today. They will.list four. / , , such comparisons. A. The students' will view a film,' "Why Man 4 Create" t.orve was an intrbduction to' the G. The studenth will view an early WalfDis- "tourse. Littlyill be sald preceding the ney Cartoon,. "The Three Little Pigs:"

viewing. F011owing.the film, the students This. will 4erVe as an .introduction to,the 44' , ?' will endige in 'a dis'cusio.n._ with limited early development of color films.After it) N.` te'acher inpuM The discasion -should be seeingthe'. film, .the teacherwilipass student gearated with leacher responsts . around the book, The Iaternational Ericy- acknoWledging contrilautions.p clopedia of intin:which shpws, in detail, .force:merit at this stage is important. . hoW the three color- process works using pr. Ia trder to rrae clearly explain, the phi "The Three Little Pigs" as aieexample. pheAomenon, the teacher demonsirate II. Activities4 Relating to Film as an. Industry ,_, this concept through an :-ercperitnent with %light bulbs.. Twqijight bulbs are set Up so . A. The teacher will prqvide copies of current 'that ?Fiey may bswitched on and off rap- Variety magazines. The discussion 'will fo-- idly. :Alternately, 'the bulbs are thrned on cus,on the top grossing films of the week.

, And)off uritil the paces becowes. astei-. The The student g.will seek. to determine the ?` illusion' of.movement betweert the bulbs 1 0 factors which cseate a popular film. They should be demonstrated to the ktudents., will be encouraged to start the analysis .. using tbe audlenee's. viewpoint. This st iiii . .ehouttheKennedy. .ieisa:;sination,The ulus.shouldeiiil to a dIfieussiim el the in niOnt of 'view taken.'m the 'tiho :1,b()111(1. ;.--dustry, 11.r, the point (ir VO'Wiii . . oLho' 11.801!Irt'S 110111 %vhitIt they've gained , B. The students will receive a handout %With,. !diowledge. shows the,interrelationship of the crew. in ... tt.film produetion.. The students work in' a C. The si mu 'ii1 ill iew the Wm,. "Mick large group 'to. put the liw- ,of production '111ory. w 1%1." I'nor into'upe by dovelo hing ;I film idea :nal as. 10 11118,1110 !i1itik:lit:4 t'iiiiiiii I this- signing roles, ln 1.11 8 role playing ;iituat ion, ul;1011 thvir the .the students have inly the limit:. :i, llolly role of Blacks in the ixood compauy would have. .Eacli role t ak- or. the,distussiom of the sinilents ell must present the specifk iltiti...s aligned .viil sketch on outline of 1h(('!'Oh(iii Marl% with this Koduet ion. A more detailed situ-. in the film industry by listing nine item:: ation Might be provided by giving,studonts a handout dealing with a spet!ific film (v.g.. Kenus study of "Spartacus"). - Thi.7 class will view an ext.( fioni the film, "Film: The#Art of the Impossible," C. The class will invite a guest spea,ker to talk which, an excerpt from Berkeky's "Foot- to them. A theater nianager from, the cqrn-' IIghI Parade" is seen.'l'his extravaganza triunity could come and discuss distriliu- houtd tie! class toii,et an idea of lion and exhihilion in the film indastry. escapf. prlivided by films of the'deprc:ision. After the presentation, students will relate A discusSnin.will follow,: the .theat& manairier's role to the overall industry .by making a schematit model of E. The class will viow 1.eni Piefenaltald's "Tri- that. relationship. omph of the Will." They will analy.,.e it as a reflector of Npzi kb-oh igy, as well fenlis- III Activities Rel'ating to Film as Art euslitthe fihn's Overall politival ;mph( ;,.tioati. t A. The s-tudents willreceit.7e copies» of the F. Prior to viewing .a video tape of "r he Cabi- 'shore *ern, "The Hangman," to.read. They net of Dr. Carigari," fhe students' wisll en- wiil thelu discuss the poem. The short film, gage in a dis,:uSsion cohccrnim; the climate "The" Hangman," will be viewed. Aftek of post W.W. I Genciany. After the film. ward, students will discuss the film and the.class vi ii discuss how the film reflected compare thelmpaet of .reading the poevi conditions of that era. with that of seeing thefilm. . ,. U. A short excerpt-..of. the silent version of B. The film, "String Bean," will be shown. DeMitle2s "The Ten'Commandrnents" will Specific roles will be explained' and .as- be ,viewed. The .stlidents will compare the signed to groups. The grdups will then dis- religious film of the:silent era with those cuss amongithemselves w tbeir specific produced more reCefitly by identifying' ten roles in this filM DrOductiowould.he cori- characteristics' of each. sidered artistic. Tkey thus .use the film, . "String Bean," as the. resource for exam- H. A panel discussion will be held in' which ples.. They will then report back to the members of the,,panel havo,prepared to whole class regarding their specific artistic discuss the hero vs. anti-hero image 'in /- I .'role.4 . films. The panel will be enchraged to fo- . . . . _ . . .. . cus on how these images may reflect or IV, Activities Relating tO Film; as a Shaper and ..: 'shape valu.esin.society. The trends present . . Reflector of Values , in the anti-hero image will be dealt, with. . . . t The rest of the class will make a list-which A. The slide/tape show, '"Film: A Refleetion itemizes Illese images by decades.The . of Values,".iwill,be shown. This presenta- panel members will then approve these tion contains several film clips 'from different eras aud discusses their implications lists 5irkiicit use the concC'pts for discussion., for society: The students will engage in a "'The student Will view some commercial discussion in small groups'using the dis- ,clipS,-. Each:'commercial will be dikussed in cUssion guide provided with the Slide/tape t, .. .detaiLas,t6 the values it reflects or shapes.. - show. . . 'CoMrnercials. from theifferent eras may , . . ;. .:',.shbwn to ., display. how: Our Country's B. The ...studwitswillview"The....Report." , they may.. diScuSs' the-film in corriparison Valties',have:changed"..birnrt*rcials are or. could 1.4 video taped fi:Omithe ,air. 'with the knoWledge they previouslY had 7a, 1. I- 41- \ i .. ' '1/44 a .. . ututionaI Assoisment II ii t t nt's participationiii a discussion. concerm i the slidel/tapi.slin%v may Ia. I.A number of the activities may he taken as me:mres, of student behavior. For example ' .1 student's ronclusionsri,,girdingthe A. The stirth)it's participation the'disru* film, "Report," may he evaluated, ,sion of "Why Man Creates" may be evahiated. I: The imtline sl(etell dealing With the Illark B. In a verindqtii,the student's ahihty to de- portr.iyal in films fluty be Fraded. fine terms crucial to the unit in his/her papyr op the escape provided - own Words nuiy be evaluated. by .tri. films of the '30's may be evaluated.

(2. The student'sconstrurtion, of a movie ma [11 Tht, ol "Triumph .Of chine.,and discussion of' its inevhanism may the V% ill" riZy he vonsideretl. be evaluated. N. The student'sparticipitefonin a discussamY D. l'hetittienits particitpation in a discussion regarding the psehological,implivation of on his/her role in 010 film induStry may be a '30's (Ierman film may 1.ri'evahiated. evaluated*. , 0. 'Phe Audent's comparison of early to pres-e E. 11, student'S participation in% a role play- mitreligiousfilms inaybe. scored and. ing situation- dealing v.ith- a Jilin pro4uc- graded. lion and ilkeussion may be. evaluaied. 1'7 Student pa-rtiipation Iii a.pancl dkrussion: F. The .student's sketched modelt,of the thea- tillinti-hero vs her images may be evalu-, ter manager's position' in film. industry ate& -inay be scored and graded:, Q The shalent's.,;ibility to hy1iot4esize hov q. Th6 student's identificat am of unique goal- tawiety's values are reflectedin commer- .fktios of litcratupe. and film in3iy be evalu- ls may be evaluated. ated. e: The student's abiliIv to d ',fend anddiseuss. Ainnit test may be given, seored, and graded. . a. specific -ftlin,productii role. maylre Student at tendance and ptirtiantion insy Lio

evaluated. . cnnsidered in determining the unit grade.

Refettnres

Brode, Douglas, ed,..Crossroads .t9. tire Cinema. Holbrook Press, Inc..; Boston, Massaeliusetfs 1975. Carr, John and Wm. Kuhns, Teaching in the Dark. .Pflauin/Standard, Dayton, Ohio, 1973'..-, Carrico, J. Paul a'nd Louis.M. Savary,-eds.,,Contemporary Fan} and the New Generation. Associal

tion Press, .New York, 1971. i Culkin, John M. apd Anthony Schillaci, eds Films DelivEr','Citation Press, New xork, 1970. .,. . 4 Feyen, Sharma andDonilld .Wigateds., Screen Ex.1)21i1110e: 44n Approach to 'Filin.''beotge A. .Pflaurr20.

Publisher, Dayton Ohio, 1969. , , . .,. Giarietti;Lonis D.., iluderstanding Movies._ Prentic.._!-Hall. Englq400d Cliffs, NeW'Rrsey, 1972. 4 V , ., jacobs,Lewis; The Einergencj'of Film Art.. Hopkinson 'zind Bla,ket, PublisherS, NeW ,Yorls, 1069.. Jacobs,.LirvAs,.The MoVies as Medium:. Partar, Strthis and Giroux, NeW York; 1970. , , . . . .. Jacobs, Lewis, The Rise of American Film: A Criri4.a1 Hisrory. Teaclwrs' College Pres.-New York, 1968. .:1 . Jinks, William, Celluloid Literature. .G:leneoe f'ress. Beverly Hills;Califorifia, 1971. Knight, Arthur, The Liveliest Aft. The. New American,Libra.M..New York, 1957.

17 C. Kuhns, Willi* arid RObert Stanley, Exploring theTilm.,Pflaum/Standaid, Dayton; Ohio, 1968. Kuhns, Wifliam, Movies in America. Pflaum/Stindard,Dayton, ,Ohio, 1972, . - York,- 1963. , Lindgren,Ernest, The Art of Filrn. The Macmillan Company, New z. ,-,e MacCann, Richard'Dyer,-..., ed., Filni: _A Montgge of Thebries\E. P. Dutton and Company, Inc.,, New York, 1966. . 4 McAitark, Einile G.. and Robert Williams, The Pilm ViewersHandbook. Deus Bookg, Glen Rock, New ..Jersey, 1965. c# - . , , _-: -,...- MOntague, -Ivpr, FilM W or.Penguin Books;13altimore,Maryland,:1964. National CO.uncil of Techers of - Poleet,4., .liow.ard,. ed., The Comiplete Guide..to Fijni Stucry: The , , 7 nglish, Idtana, 'Illinois, 197R. .' ( ,. 0--, I Ross, T. 4.; ed.,Jilm and the LiberalArts. Holt,.,Rinehait and Winston, Inc.,,New :York,'T9701.'. 4; . /. Sohn, -David The Creative e.. George 'A. Pflaum, p#iblisher,Dayton, Ohio., 1970.

.. ..: . 4- 4r

4 1 3 UNITTWO THE TOOLS OF FILM

Introductory Statement 2. Given a.series ofPhotographs taken with wide _ anRle and telephto lenses, thstudent will be The cinema seems io hsve been inventedfir able in correctly°differentiatePictures taken press the life of the subconscioUs. with these lenses With 80% accuracy. Luis Bunnel 3. GrGen a camera Witha focusing aid; thestu-' cierlt will lot ableto focus the camera on an There appears to be little or nO.need to tell a movie object without removing theeye from the goer what a movie 'is--Lhe .knows 'already. But .earnera view finder. thereis present in /Amy movie goers a fascination 4.With--out the .useof measuring devices, the with how a movie.cbmes into being. It' is thjs faa.. gent will be able to estimate distances from cination that this unit and the unit which immedi- camera to subject wrth2:90:70 accuracy. ately followk address themselves. 5. Given the use of video:4ping equipment, the Movies. are so familiar to this generatiobe- student will be ableto create a series of shots causeof .the pervasiveness Of television movies. psing the three 1.;,.ns settings ofthe standard Students. have an extensive viewing background zo °11.1 lens suchthatwide angle,norrnal, and before they enter a film coUrser The availability of telePhoto shots are included. easily -used film making equipment makes it.possi- - .,, ble for young people to become creators of movies 6. Wtthout the use of notes or other materials, rather than just passive consumers. They Will, the tudent willbe able to identify different hopefully, be more active and critical. spectatorq effeets created bythe use of various lenses. because of their knowledge of film making. , 7. Given an accurately focused carnera with an adj ' This unit considers the mechanics of film mak- 4stable eyepiece,the student will be able ing equipment. Through exposure to a sequence .W adjust the-eyepiece such thatthe image is of activities, ,the student will become acquainted in clear focus tothe student. witt the camera, the editor, the splicer, and other 8. Given three phot appg,ratus for film produVon. os,. the studentwill be able - to a-escribe the depth of field in each. Before students can hope to communicate effec- 9.Given a Sup& 8mm tively'through film, they must be aware of the cap: camera, the student will be1::,le to accurately classify the viewing sys- \ abilities of the equipment at their disposal. This temof that camera as auxiliary or reflex. unit provides opportunities for students to experience "hands-on" development of basic technical 10. Give the use of a Q..)uper 8mm camera, the stu- nt competencies. This technical competence allows den,_ will beAleto adjust for parallax in the students to experiment with the medium in order snougti-of filmssuch that no major objectin to exp.and- their visual literacy. It also gives stu- the4lin is half inand' half out of the frame. dents the, confidence to move from simply firm making experiences to more complex endeavors. 11. 02 notes or 'other" materials, the uui lsrlea wWii iti.thhs (t)8uuodtroe nt hat ec able to match f/ numbers Today, movies are "in." Students may never go w,-'41 relativeapertures and depths pf -field tO Hollywood with their film know-how, but they will have the opportunity to "magina- tion, in -entiveness, and talent through the ac 12. Thetudent willbe able to correlate depth of ities inhis and the following units. Having ac- field aperture andf/.The description shod include the principle that as f/ in- , quired an understanding of the nature of the film creases, aperture w decreases and riepth of field experience from Unit I, the student should now increases - master technical use of equipment. 'In Unit III the . student-will use a variety of techniques in creating 13.Without the use ofnotes or other materials, a film. , the student will beable to match fps with fast, slob, and normalmotion for a . super 8mm camera. . Instructional Objectives . - 41 .,. _ 1.Given a blank diagrm of a Super.8mm cam_ 14. WRbout the use of notes or other materials, era, the student w be able to label each part thetudent will be able to accurately set up a indicated on th iagram with 100% accuracy. threepoint lighting arrangement. j 8 1 4 1.5. : Without the use of notes or other materials, be able to film a 20-30 secOnd kinestasisee- the student will be Ale. teidefine the five quence in three class peciods. / lighting -angles. 31. Given necessary equipment, the stud it will 16. Without the use of notes orther materials, be able to film a minimum' of three ties the student will be able toscribe the light- one cliss period. ing effectsa ted when the five lighting an- 32. Given a Super 8rnm camera, the student will gles are ut'Ired. i / be able to locate and manipulate the color con- : 17. Given lightingequitom4t,, the student'will be versiOn filtdr. able to demonstrate ,t.least three different 33. Witrbut the'uge of notes or othermaterials,' lightinfangles. '',' ' ( the sttident will bp able to describe),the effect 18. Given a blzink diagram of a fillri editor, the of shoot'ing color Super 8mm film. ou46ors stupnt aliill 1;?e hble to accurately label all in- without the use of a color conversion filtr. diciqed parts. 34.. Given the use of equipment and one- alf roll 19. Given_three piedes of 16mm or 8mm film,the of Sup6r 8mm film, Ihe student wil be able 'student will be able to tape-splice the filffr to devise and produce a film Which'.() de- .. suell that it Passes srhoothly ihroUgh the pro- 'picts a subject chosen by the stude t;) the , .1. student has shot alone; (3) the\ tu,, nt has jector. edited alone; (4) has simile soun.,.'y ompani- .20. Given pieces of 8mm, Super 8mm,16m1,and ment; (5) 'utilizes at least twoe;ial effects; 35mm filth stock, the student will be ab e to (6) uses three-point llghting if ar ificial light accurately identify each gadge of film stock. is tted; (7) _uses two lens set ings;,(85 contains a minimum-of three splices;: (9) has par- 21. Given lists of,film stock and project ideas;the allax adjusted forso, that no Major iMage student will be able to explain two reasons for half in. and half put of the fram; (14 can be , ., ,.'choosing a specific film stock for a project. ' projected for the class. 4 22: Given a film which combines black andIiite and color, the student will be able to idtify Content Outline two reasons for the combined use of color d black and White in films. I. Parts of the Cameraa necessity; functions as .an extension of the, filmmaker's eyes and .23. Given ASA numbeys such as 25 or206, the stu- emotions; captures on film a message for the' dent will be able to accurately associate those viewer numbers *ith the labels "slow" or `:fast." , A. Body=the main bousin r the motor, the . .. film cartridge, lens sym, and the view- . 24.Given specific lighting conditions, the student finder will be able to choose the correct (ASA/fdA B. Film transportthe system withinthe or slow) film stock. camera which is made up of the motor,the 25. Given access to local fijrn stock suppliers,the sprocket wheels; and the gate student will be able' to list the, yarious speeds 1. Sprocket wheelssmall rollers with lit- of film stock which are lpcally availabl,-: for tle teeth or sprockets spaced all the way use. around them 2. Gate.---made up ,of the aperture plate, 26. Given a list of ri..inning speeds and film gauges, the presSure pla46, and the pulldown pin the student will be able to accurately match a. Aperture platelocated at the front the two lists wilhout referring to notes or of the camera; has a small rectangu- other mAterials. lar hole in it the seine siz,e,as one 27. Given necessary equipment, thestuderit' will frame of the film be able to create at least two special effects on b. Pressure plateholds the' film )firmly iocessed film irlone class period. with ,the emulsion side against the . ' apertu're plate ,,:fi.Given necessary equipment, the student will Pulldown pingripsthefilmby be able to set up animation equipment such means of the sprecket holes and-pulls that an animated sequence' can be shot. t it down between the aperture and p4ssure plates ' 29. Given necessaryequipm ent, the studerit w,ill C. Lenssimilar to the human eye ithat it . be able to film a 15-20 S'econd anirnated, se- draws. in light rays; imprints light rays on qu nce in three class. periodS filrlk as.eyes imprint the' light on the retina 1. Focal lengthmeasured in mm; the dis- .30. ven necessary equipment, the studentwill ,

Ao tance from the center of thelens to the camera person sees exactly.4atis cap- surface of the fitin when' the kns is fo- tured on film cused at infinity 3. Parallaxthe: differenee between what

2. Typeebroad claslifications which re- is* seen in. the vie*finder and what is 7 late to the focal teng.th of the seen by the camera in non-reflex view- a. Normalone v.:,.se tocal length -is ing systems- . ' , , approximately equai to the diagonal Pf. E. Speed adjustmenta of tlie film Used in Apt camera, e.g., 1. Shutterlocated ;in front oibthe aper-

45-58mm for 35mm camera , ture plate; qpens to all:ow light to hit one b. Telephotolong lens;has afocal frame of the film at a "time;'closes,Iblock- I) length considerably in ,excess of the ing'out the light as the film i. move, mormal lens, e.g., 75,-000mm or( longer. forWard one frapriq; opens to expo e a - for 35nun camera other frame irk c. -Wide anglefocal- length less than 2. Faa-Inotion:--12,fps_carnera speed, when the normal lens, e.g., 21-05mm-for the projected appears to be; fast and .jerlq 35mm camera motiOn r- \ it d. Zoomhas a variable fq,cal length;,, 3. Normal motion-1.8 -fps (Super 8mm); the convenience of norms% telephoto, wherk projected movement appears at and wide angie in one package the nOrmal rate..., 3. Perspective 4.' Slow motio 2.4' camera 4peed; when a. Telephotocompression the scene; rojecte ovement appears slow and movement 'altered ,se sub'ect appears ffluid ' - 4 to rernai r from the camera in 'spite , of ov ment towAtel the camera - b. Wideangle,--opensup spaceor IL lighting and Light Control stretches it ,out; Movement acrbss an *--A. Measurementby foot eandle§ area seems to be,.Speeded up ,B. Effects of lighting 4. Lens aperturethe determining factor 1. Visibilitydetermines what i -and what as to how much;ht\exposes the film is not visible in filMint; "go" nd "no go" 'a. f/estop) which identify indicators on catnexas the -amount ening in the dia-. 2. Moodmay establish' the mood, e.g:,,, , phragm; the r, the number, the smaller the opening; f/1, f/1.4, f/2, horror pictures with grcitesqup shadows f/2.4, f/4, ft5..6, f/8, 01, f/16,f/22, . 3. Special effectsplay a role in creating, special psychologi1.effect§, e.g., a ,red ' f/32 . atmosphere for a,ene b. Changes in aperturemoving from f/ C.-Types of light ' toanotherz tohalf or double the 1. Artificialtungsten or flourescent amount _of' lig4,- which exposes the 2. Naturaloutdoor available light Min Pe , D. Basic lighting set-up - , c. Electric eyesautomatically set the 1. Key, light7--the main light falhngpn the f/ depending upon light conditions +action d. Light metersindiacte desirable f/ 2. Ba lighta special light; izinced just readings based upon exisqng light ut 'and behind the actor,ghting his conditions ad and .shoulders; separes the sub- e. -Manualoverre7--allow. thefilm jeèl ffom the background/adds depth maker to adjust to eading other - 3. Fill lighta softer, wea er light uinally than that indicated the electric eye -.set next to the earnerto fill and soften f. Deptkof fieldthe area in sharp fo- shadows created by t e key light smaller aperture (therefore s' E. Lighting angles the higher the f/ n 1ber)_-the greater 1. Prom lightingni in light ,xlirectly in the .depth of field (at area which is 1 front of the subject; gives' a flat appear- in sharp focus); the arger the aper- ance .'ture, the 6naller the depth of field 2. Side lightingmain source from the side D. Viewfindera lens system for the cam7 of the subject; maysgive appearance of . person . occurring in darkness 4-f side light is soft 1. Auxiliarya viewing system in. which - 3. High lightingalso called rim lighting; the camera "sees" one image and the main light/ from above and slightly be- wiewer sees a slightlY different image hind the subject; gives the effect of high- . . because the Viewing system is non-reflex lighting the upper 'edges of the subject .P 2. Reflexa viewing system in Which the1 6 47 Back lightingextension ofthe rim

10 - lighting to give a halo effect; main light D. Color and black. and -White directly behind the subject 1. COlor , 5. Source iiiitingrnain source- of light a: Kodak Kodachromegeneral use in- aimed atillFwgite ceinng or wall; bathes dood ahd but; sharp, clear pictuve _the subject in a softer light than if the with .good contrast . 2subject is lighteddirealy 15. Kodak Ektachromehigh s'Peed color film; good with available light, weak- Editing Equipment er cOntrfist than Kodachrome A. Editor 2. Black and white . 1. Parts a Kodak Tri-Xfor use indoors with a. Reels available light; high speed plm b. Cranks 'b. Used infrequently in student films. c. Viewing area :,? E. Speed of filmindicated by- the film's sen- d., Threading mechanism sitivity tb light e. Lightbulb 1. ASAa nurriber ;indicates to the film 2. Threading procedure : Maker the sensitivity of the film to a. Film on ;eels light; range from ASA 25 to 400,or even- b. Filth through editor 500 or'80 'c:-Editor ehgaged 2. RatiO-7ASA to speed of film - B. Splicer a. The higher the ASA number the more .1. Tape process sensitive td light a. Tapes7-used, tb join film,- 'pieces to- b. ASA 50 twice as sensitive to light as is gether ASA 25; principle applies on up nu- b. Kodak UMversal SpliCerpressure merical scale, on tape Usedto adherw Alm pieces c. Higher ASA ,ratingsrequirede- 2. Heat process creased exposure; smaller apertures a. Glueused to jinn film% pieces to d. tower ASA ratingsrequireint gether creasid `exiSosure; larger.apertures b. Heat splicerheat used!to adhere film e. RelationShip of light sensitivity to ex- .piecest. posuremore light sensitive film, less the exposure, and vice versa IV. Film Stock F. Running 'speedsframes per second at nor- ° A. Raw material 1. Basecenuloise triaCetate; function to mal camera and projector speeds support the emulsion; bright finish - 1. Regular 8-16 fps 2: Emulsiona- layer of light-sensitive ma- 2. Super 8mm-18 fps terial; made up Of gelatin mixed with 3. 16mm sound-24 fps ixsilver halide particles(silver bromo- 4. I6mm silentI6 fps iodide) ; area ih whith the pnatographic 5. 35mm-24 fps. ithage is formed; full finish 3. Subbing layera layer of adhesive ma- V. Special Effectsa term kir trick effects winch terial. Used to bond the einulsion to the , are artificially constructed during shooting or base r afterwards 4. Antilialation coatinga coating of ma, A. In shooting terial which prevents blurring around' 1. Slow motionshooting a sequence at a bright areas in the image; generally faster than normal camera speed placed on the surface'of the base away 2. AcCeleratedmttionshootingase- from the emulsion, may be between the , quence at a slower than normal camera base and emulsion speed . B. Cartridgea fifty-foot film spool contained' 3. Fading in and fading out-7-an opticaL in a plastic case yhich is inserted into a effect in which a shot gradually-appears Super 8mrti cariiera; no winding, no re- out of oDiades into darkness' wind; appr9ximately three minutes of film 4. Single c.frarningshootingaseqUence when projected at normal speed one frame, at a time . C. Gauges of filmmeasured by widp in mil- a. Animationusingsingle framing to limeters (mm) create the illusion of movement in inanimate objects 1. 'Regular 8 b. Pixilltitionusing .single framing to .2. Super 8 3. 16mm/ create the illusion of movement with 4. 35mm animate objects; as people "floatine 17 across the ground 5. 78mm , ii

a c. Minestasisusing the Single .fr. actual parts of auper 8mm camera. possibilitiester shoot nine or ore . 1 .atter_ a large grup of discussion relating , ftames ofstill pictures, ng a to lens use, stuents will work in groups rapid montage of imam when pro- of 3-5 to choosfa series of photog from 'jected magazines suppied by the teacher which 5. Lens coatingcovering the Jens with . represent 'wideangle and telephoto lens vaseline or other such material to crer use ate a blurred image 7. 6. Titles C.- Students will examine° cameras- with fixed. a. Equipment Set-upuse of a tripod, and variable focus to explore the fieinbility which can be placed at right angles of each type relating to clarity of focus 'at to the material tObe copied; use of different distances, I two lights, set up at 450 angles, one D. Students will estimate distances from a on, either s4e of the material to be cainera to a siibedt, then measure the ,dis- :copied -tance, to check their accuracy.This' ex- b. What 'touse fori, titlesletters .on perience will aid the student in 'focusihi g ss or cellophane, title kit letters; more.accurately. '

pewritten titles, hand-lettered, and . . others 'E., Students video lapeequipdient in 7., Filtersdisks of glass or gelatin materi- groups of 4-6 to create a series of shots of the following(situations: als in various colors( With various inten- 17 sites which :are screwed' into,- other= 1. A persOn standing still. With the& cam- wise mounted on, camera lenses k. set in one place, have students use a. Conversion filtersobviates the lie- the normal lens setting, ;then the tele- .Cessity: to Jernove a partia,lly used photo lens setting, and then the wide cartridge When moVing 'from daylight angle lens setting of the standard zoom into an artificially lighted situation; lens.Students) shoulelpok for differ- . prevents abluish cast to those scenes . 'ences. in magnification and for what is' shot outdoors 1. *Jo, inaoded in and excluded from the. b. Neutral density firtersa single'ay frame. filter which -cuts some of the li ht; ° 2. -A person running or riding a bicycle to- useful on very.bright days iooler to ward the 'camera. 'Have this done.three 2. open the aperture a _bit 6ore Ahan times while using the normal, telephoto,... nornial and achieve a shallow, depth. and .wide_ angle settings orthe standagl, .of field zoom lens. Students should note the'ap- c. Color filtersmay be used to add a parent speed with which the subject k. dimension of overaireblor to a scene. cif' to a film teovers the distance in each instance: d. Gelatinused much the.sarne as color 3. A person's face filling the frame. Again filters, except at considerably reduced take three shots 'using the normal, tele- . Cost photo, and wide, angle settings. Stuaents e: Nylon stockingused to cover the should note distortions which occur with lens to create the gauzy effect of the the use of the wide angle lens,. , Doris Day movies After processing effectsthose which can F. Give'students cameras. with adjustable eye- be done by the stuaent after the film comes pieces. Have them .adjust theSe to their own Viewing needs. back fro . 1. CibrOx spottin G., Following a mini-lecture by the teacher, 2. Clorox tinting (blue) students will discuss in a large group the .3.-Food coloring tinting 'various principles which relate depth of 4. Pin-hole spot field io aperture to f/. 5. Student genera 11Students will examine several cameras to ascertain _which viewing system (auxiliary Learnig Activities or reflex) is used in each. 0, s Relating to Parts of'the Camera_ I. Activi I. Students will be given Super 8mm cameras A. Afterew,Lg "Biography of a Mbtiori Pic- with% auxiliaryviewing systems.They ture Camera" and' "The Searching Eye," should adjust for parallax so that no major 'Students will examine Super 8mm cameras objects are partially in and partially out of in groups from a camera diagram with the the frame in the processed film.

, 12

18 As J. After a class discussion Of the ste' ssion. lating.f/ to aperture tq depth/4/1ftelefe Z°411,11:- tte:cwhilerl-irZkdicscrticiera seiies of ASA L.. dents will fill out a diagram wl)er,..1 r1.11P' fastest thn in writ- I'. lifies tholse relationships. 4,5y.l e"1.--ises. 'Of , , K. Students willdiscuss in small) Cl'ovatii ovari us light descrila- / 5' kucieon t will asrlaftch 47-5 the relationship between V., (__,,Crotit,r3t low"14bels for film stock W. 1 Aw.ritteit speed)" and fast, slow, and. norkrt (:)ai activiNs. ..-/ c(1 in Actiyities Relating to Lighting :ang4gh I.ttt,:k will eoth.nile a list ofvarious filuic stock tl-vailable tiroin local supplierls. trol li . s a ., 3. t.,., ) .;:-%:', A: Students will discuss in alarRefrolg .th tolill Ninitie a. chart of fps run- *#ects of lighting'in film makV- . . xgrig In ea s wkie ,h ' W'i11 bePosted in tiie .1.Of Rc-- el sP 1' B. St:a-dents will work in sinall gm0A-8 ,.. -- t :- v:,+-mo kr. sstsoo017' to set up a. basic three-point .,,,,Activ. oelatilig' y s to Special, Eff rarigement. - f /' - fop A- t will viciAr ..serieot film clips khe wilt& C. Students May choose to come ikoo har,Dave beet): owned hYother st.u- in 'their tree periCato expe4fil6"1V'c 011. I Lit3t'sThese clIpa Will relatp to special lighting posSigilitiespk,,esftt°A) ha rect; yr/11kb '1)1' alV done .claor they May generate theVrvi'l tissi of the 4 ;irithsllesOeo,lg"."offeCts. -A dis-ill for experimentation, 1 se 9 OW., r ,, pinations i At a---to Editink EttnkfigOle, 43. tk' 't,o setisa , III. Activities Re Cg will tlew sod the film : . ,aitle" and A.Studerit se:rye astudeMarlall!tI'a. IjCP r.-1111,1Ca* ---' eitherarri- teo fi-ortoon. C,Th 4" lloY That ,Grew U.P" ,tioh of th1editorand Splic4. 'zir ..zi-evaane ...... 194 B. Stude cutand splice tigseq aii,4,5 (VT Ct' ''will derriOr 4; ne piece and projectittw, 411 , 4, lIckbt5 . ),Watch -tralonS of film aftettiootirigsbeciai effects teoinigues. a projector. ,, s , .. . willexperlinentwithuafter IV. Activities'Relating to Film StOCk -' 4t.' 4ilicierit5 . oos,,.., el- so Chr'iques iri onp 'As period. ',et e34-EF1 I.': k4 A. Students ,Will examine pieces , 5 at,.1-ss,t A ahd unexposed film stock. Tv vv1; a,r . w, cliPof footage' shq 'kith ''t7 col Conversion filters " asked .t6 ideritify the vaiiouS VIAlak. pors or hotli 4n mitdoors anddiscussany to locate the position of the fryIrs. e0.1otin dioortio ir,311-1,..t6 B. Students will discuss in small 1 l ral 1...1 onoteses.11r. rnpulate the y usefulness. of Kodak Kpdachtvil e,th,"_:' oa chrome, andtblack and *bite fil011 In/ 'cuterforb'a carliera. own filing in this unit. G. tuck maY th tb expt4-111:rient With° othtinerSm. Pi. tile ,7hich are avaiaablefor C. FolloZving the viewjng "The P110 essr e er !Tiger," students 'will discuss tlieec0i, a,e- ated by the,'Use of coliar and1)i-an".;e 5t1,4-,,o w.iil ks' animated sequence, white in the films "The"PTinCeketr ii'- :321 147101 clOr 1,eader Whieh demonstrates t40,5si'ir, t . ger" arid "String' Bean" (seen ill voineot arid itatleast 64 :frames or 4. "The Nature of.Film"). ' 'Thi4 (170 gPeeti).- may ,be either in small or largefiCZ)1117' , M.ladeno. w.11i -Peritoent with a .carnera . tudenti will participate in stilla'al ekktii,, P Iltritkw. fraking capability b 4,1 a... tkp ineces4?Ty to set .. disOussions to generate a list of eintls uiptoent ahdanini a ing both black and white antlel=1,0C ild 1 ."114..Zencrolld seNeilloe of film ' identify some reasons for such . '1' f4iPaY 010 to do a second i -ihe segilose 4-30 / E. Students will work in groups ot Zt- 1,1t duringthei-free Per- line a film idea which mighttiiii424th N s.8tes0 -black and 'white ,and color. Thv'vil)40;\e" sent their idea to the clasg with ci)tlacl,._..0 Will .n1).,..": series("4 three titles / using each kind of film at partiVia4.11- i:1114,41'00e glasPerio . iP f j. Pfx.t: EaCh f F. Studerits will discuss the re1a,0*illar roof studerit a'qo speed of film tO. ASA numbers la tVe8narn 41m to"rnalcf-altrawhich:

. T. - - A. Utilizes the various ca(pabilitiesof the L. Identification' oftfilrnformats1i n written or camera: V. oral exerciseS MhY be scored and graded. - .B. The siudent edits. I. Accuracy Of drawing frames on clear lead- / er may be evaluated. , C. Includes at least two special effects. N. Validity of reasoap for choice of:filril, D. Has a sound track for 'accompaniment. for the unit Eroject Inay be evaluated. E. Uses the.three-point lighting set-up. (if arti- 0..'Acceptability of reasons offered for. the use ficial light is fised). A. of color and lack and white in films F. Contains at least three splices. viawed in class inay be assessed., G. \Can be projected for the class. ID. Written or oralxereises vglAch t.student matchesSA numbers for "fa t" or- "slow" labelsnol with Specified lWht con- 0:- clitions. may b aded. , Instructional ,Assessment 01. 0 Q: A quiz matching,running speeds with film P. A number of activities may be takenias meas- c.gauges may be given and evaluated, 4. ures of stpdent behavior.. For example: - . .R. .Creation of two, Special effects in one class A. Student responses. to ihe unlabele d. camera period may be considered as evidence of diagram may be collected and graded. the student,s md§t.ery of special 1, effects B. Student responses in identifying photoi as *concepts. / . N. examples of use of wide angle or,telephoto S. The ability to set up animation equipment lenses may be evaluated. '. -cotrrectlycr,4be considered as evidence of' .C. Observation of theStudent's ability to fo- . thekunVs' mastery of aninlation' tech-- . niques. s, , cus without removing his eye from the ey.e- . . t ....s, piece of a camera may be taken as evidence T. The animated film sequence may be eyaluk of the student's mastery of that skill. , ,kted. The summary paper explaining the differ- IL "The kinestatis filill sequene'may be pvalu- ent effects created by using various lens ated. , . lettings in the video tape exercise may be # evaluated. V. The titles film Sequence may be evaluated. E. That-no object'IR close-up is half in and W. Observation of the student's ability to lo- half out of the frame in the film or this unit cate and mat1ipulate9the color conversion may beconsidered evidence of tAe stu- filter on a Super 8mrn camera,ma7 be tak- dent's understanding of ddjustment for en as evidence of the,student'astery of parallax. that skill.. F. The written exercise relating to f/, aper- X. The description of the effect of shooting ture, and depth of field may be collected outdgors without a color conversion filter and graded. may be evaluated. G. The matchinexercise for fps and "fast," Z. Student participation in group projects may "slow," and no mal running speeds may be be considered as an aspect for evaluation. evaluated. . A,A. Class attendaae may be considered, as an H. Definitiohs for the eight aspects Qi Vsic aspect fOr evaluation. and angle lighting may be scored. * A unit test may be achninistered to assess the I. Descriptions Of the effects of angle lighting student's g4sof concepts presentecl in this may be eValuated. unit. ..L.The student's responses on the unlabele diagram d theffilni editor may be evalu- The unit filmroject whith is designed. to syn- ate& thesize the various concepts elaborat within this unit should be taken as a large&dgeeasaunrae K. Smoop projection rna.be considered as the student's rnasterY of the knowle emidence of ability to splice correctly. 2 0skills which arcovered in, this unit. 14

fa Uriit.References f

Brodbèck, Emil E., Handbook of Basic Motion Picture Technique. AmericanPhotograp-hic Book Pub- . , lishing Co., Inc., Garden City, New Jersey, 1975. .. '-- 10.---) Czynik, David,Movie Makin .Loyola University Press, Chicago, Illinois, 1974. .. PrpfessionalMovies. The IVIacrnillian Corn- Goodlyinc Nancy and J es N. IVIanilla, Make Your Own . - pany, New York, 171. .- - . ' , . Kodak customer service mphletstvailai?le f retail photo suppliersnar from the company. Kuhns; William d Thoms F. Giardino, Behin Camera. Pflaum/Standard, Daytg,n, Ohio, 1970. -Larson, Rodger anElleMeade, Young Film Makers. .Carnelot Books, Avon Publishing,do., Chicago,

tor. Capricorn Books, New y.91.k, 1969. LivingstOn, Ben, 7 m and. theDirec Lowndes, Doti m Mtt§QnSch(cols. Watsop-Guptill Public;tions, New York, 1970. t, Pincus, 'Edward, ide to Film Malang.. Sigrietp-Books, Newlikk, 1972. , Smal man, Ki C eative Film. Making.. Collier-Macmillan Ltd.,1141on, 1969. 1Spo iswoOtle, RaymOnd,Rkg,. atd Its 'Techniques. UniversitY of California Press, Berkeley and Los Angeles, 1968. Yu sman; Jerry, The Comalete Book of 8mm MovieMaking. Coward, McGann and Geoghegan, Inc., New York, 1972. ' dictioikry of cine3,:aatIc iernis is alsb usefur The gldssary section Of Film and Its Techniques is v y hbrough. sA Viction'ary of die Cinema by Peter Graham, A.S. Barnes and Co., Inc., New Yorif-, p b. lishers, 1968, offerYmtich ifriformation on individuals whohave been aetive in cinema wo

a UNIthlIREE. TliEFILMMAING EXPE NCE Introductory Statement ning' a moreCritical examin'ation of film will emerge in t studerit'sornind because of increased It (film) is the superlative medium through knowledge`of IIm techniques. which to jaccpress the world of thought, feeling and instinct'. Much can bsaid .for a medium which allows Luis Runnel for self-expression ,of the young mind. A poem, a song, a filmeach may create a special message, The mere mastery of the equiprhent of film mak- unique to its "own medium/which can con-veyto--;- ing can hardly be said to transform a student into the receivers the essence di another's mind. a film maker. However, this basic technical com- . petence is prerequisite to the development ade- quate use of specific film techniques. - jatructional Object ves In this unit the student is provided wits a.myr- 1.. After viewing a ftip, the student will be able iad'of opportunity to utilize and improve this tech- . to cite three etriples of !different film techr, nical competence. However, the primary focus of niques employ in that film. , . "ThilFilm Makink Experience" is not on the equip- . i ment, 'but on the aesthetic of that 2._ -Giyen a cvmera and a tripod, the stiident will equipment. be able to attach the camera to the tripod in such a way as .to allow for smooth panning Film techniques will be examined Fri depth. and tilting. Much material is contained in this unit/The over-, I all effeCt on the unit should be the emergence of a .3.Given a`hand-held camera, the student will be film maker who cannot only manipulate equip- able to shoot a series of.shots using.The VTR ment, but who can manipulate techniques to cre- from five body, positions (standing, kneeling, ate specific psychological impacts. sitting, lying down, and leaning against. a wall) such that .the video tape playback Will In this unit, students will examine the work- reveal' an alence -of detectable unsteadiness ability of ideas as a starting point for film making. in at least two of the five sequence; They will explore ,techniques with which to ex- .. pand the idea into a coherent message. The tech- -4.After shooting a briefaequente,using a tri- niques utilized in shoirting aiSi in editing will be pod supported camera, the student will be able 'ndispensible to the student W o wishes to express to describe differences in cmersa steadiness as a particular point of view ab ut a subject.It is revealed in the Video tape between the tripod , through this knowledge of tech iques that the film sequence and a hand-held sequence. .,, makees ideas cati be communicatedit 5. The student will be able to constFuct a series , This unit, through extensiv-e opportunities re- of sketches showing a sequence of shots from lating to the utilization of film techniques, JTers I_IS to ECU so {hat each shot becomes increas- for the student another avenue for the exa ina- ingly more specificin detail. tion and manipulation of the medium. It provides 6., The student will bkhable to ,compile a series the basis for the exploration of specific forms and genres oNfilin in the unit, "Forms of Film." *of photographs Whiche has taken to form a 0 series of shotg which progresses from ELS to This unit, by familiarizing the student withrn ECU so that each shot becomes increasingly 'techniques, establishes; a foundation for the ael- more specific in detail. o ment of One set of criteria for the evaluati of 7. Given a series of shot diagrams, the student fi m. An understanding of film techniques A ows will be able to reenact this shot sequence on thstudent to not only describe what is se video iape. te. screen,.1;ut to evaluate the psychologi pact on those images. e 8. Given a paragrark from a, narrat(ive novel or story, the student will be able to pran In summary, the content of this unis de- quence of shots using LS, MS, and CU'such, signed to aid the student in the selecti of ideas and the organization of these in o a coher- that the progression of shOts is LS, MS, CU. ent film.It encourages the vie films and 0. Given access- to a series, of magazines., the stu- piovides a. starting point from .% i student cre- - dents will be able to collect and identify pic- ativity animagination may deop. The begin1 tures Which exemplify the seven shot ,types.

2 2 t _ 10. The studentwill be able to devise a sequence 20.. G-iven a large poster size picture, the student of sketches in which reverse order shots (CU, w-ill be able togenerate five different framing MS, LS)..is used. ,) possibilities which illustrate variety of color, contrast, and balance. p. The student,will be able to devise ahd execute, by using the video tape equipment, a sequence 21. Given the film of a 16mm commercial, the stu- avoid the jump cut, use-one re- denti will be able to correctly identify the establishing shot, use a cut-in or cut-away, types of shots and list the number of frames and show objective andlsubjective camera. per shot used in. the film. , 12. Given a video taped,s.eq4nce which Was shot 22. The student; will be able to analyze the rela- in a designated location without the use of tire tionship of type of shot to time on the screen , cameraviewfinder, the student will be-able to (i7e., LS has a generally longer running e, establiska point of view and shoot 'an appro- MS has ess screen time, and the CU has lie priate sequence of the same loca,tion to illus- shortest running time). trate that'eointf-of view sucthat the point of 23? Given a twelve frame blank comic strip, the view is accurately Went" ed by .70% of the_ . student will be able to devise a complete class. comic strip which is sequenced, to depict a 13. The studelt will be abt to plan and execute logkal beginning; middle, and end: on video tape -tenNhot sequence which q4, .The student will be able to describe orally a shows no vii ation of the principle of cOnti- comic strip which he/she has made so as to nint7 of diiecen, time, or detail. include &ornmen'ts abo angles, shots, char- 14. Given A collection .of en pictures which dem- acters, and action. Onstrate the various gles, the student will be 25. Given 50 feet of film which the student has able to correctly ideify each as to angle used. shot without the use e eamera viewfinder, the student will sel point of view and 15. Givepaquence of shots, the student will be edit the film to .onfo o that point of viev/ able. toescribe probable audience reaction such that the;point df view is identified by .g., high gle shot suggests helplessness, in- 'observers of theifilm.. , adequacy, an eakness) to ,the use of variaUs "1. earner a angles. The student will be able to chate a 15 second ,- 16. The student wil be able todevise a comic montage sequence the point of view which is strip of ten frames utilizing at least one ex-be apparent to viewers. ample of each of the three camera angles. 27. Given 10-15 feet of 16mm film,, the student will be able,to rearrange the shots so aS to: 17.Gitena aituatiOn, the student Will be, able to devise and shoot a two-rhinute sequence pn a. reorder the sequence of shots, video.tape which includes at least ore example b. alter thetempori relafionship of the of each of the,following: zoodi, pa'r, tilt, truck, shots, and dolly. . c. either compress or expand time as corn- _ 18. After viewing a film, the student will be able paredoo the original, . 'to describthe use of at least three shooting technique present in the film. d. utilize parallel editireg if shots available Ibrid themselves to that technique. 19. Given a series of Dve pictures, the student will be able to reframct these stills so as 'to 28. Given the film produced in Unit II, the stu- obtain: dent will be able to reedit to conform to basic a. ove Picture which has had the frame editing principles. shape altered, 29. The student will be able to demonstrate his/ her understandipg of available audio equip- b. another -ro have had the number of eeo- ment by playing a record on a record player. ple or objects ,Within the frame. altered, and byecording, playing back, and erasing c. the third to 'have had.the center ofin- on the ta e recorder. teresf changed, 30. Th studet will be able to choose three possi- d. the jtebirthto have had the dominant blem fopics which adhere to the principles of film topic\choice. image chariked, , Ve. the last to have had aninterhal frame 31. Given a song-which might serve as the la

for a filmy the \student will be able toprepare...-6'4.. .

1" :1

1 ' a film, which pictorializes ,the message of the to narrow down the suNeet from song. the lolig shot; shows lets than the LS The,studenewill be able to analyze t e.struc- (4) MS=medium shot;shows 'the e (form) of a film sg as to inclu at /east main subject; shoWs enough. to major parts ofrthe...km. allowykor compositiop and to get 33: ,The student 'will be \able to\ analyze the style the *hole of the piimary subject e---aid structure (fOrm) of a film by citing at into the frame least five charactpristics of the film's style and (5)MCUrnedium close uP; shows three avect$ of the film's Structure (form). the most viral part Of the sUbject - with little of the surrouzidings; 4. Given a vieWing ;e3cOefience with a feature cl ser to the *subjecit than the' MS length film: tfie'student will be able jo write (6) C loseup;concentrates on . a three _page analysis' ofne aspect of struc- the most vital area of the most ture 00style. important part of the- subject; ' 3.. The student.will to make a film Which closer 4,,the subject than ,mCV incorporates t.heiall g: (7)ECUextremeclose-up;little limit as to how intimate thjs coy:'' a. ane idea, '$ ,erage may.be; may focus b. a storyboatd Of .reoting, script as a nute detail; the Closest.sh . b: Sequence of shotsgenerally planned c. utili ation of tipsrules of shotI tech- to follow a basic design from fax away to close-up; occurs so as to avoid con- . s, camera -angles,: Movement, and -fusion for the miewer, the 'viewer' sitionin:planning and inshooting, knows the environment in which the d: shong which is complete one week be- ° action occurs; rule can be violated; fore e film deadline, -generally:wise for amateur to adhere to rule e. a sound track with the film, c. FUnptthns of shots f. editing oLthe film, (1 grientationELS, LS, and MLS . .. f used to orient the audieriee to' g. preparation for the class to view on the-.' the entire environment vThich' asslgned day, the action occurs; shots, provide h. showing the film to the class. frame of reference for succeeding shots 36. Given a Oadevised critique form, the stul (2) Direct attention-7directattei-stion dent will b able to utilize that form tp evalu- to certain areas of total envirort- ating his/h r own and others! films suc ment which are'especially impor- each item On the evaluation form . tant to ,the action pleted. I i I "(3) Point of VieW-7-shots planned to show the :audience, from whose Content Outline point of view the dction is being I. Techniques seen; elarification of objectives,or A. Shooting techniques subjective points of view L Support of the camera (4)Transitionsmove audience from a..Hand-heldcamerasupportedby one location or point of interest, hOlding the grip with the hand to another b. Tripodcamera supported by being (5)Cut - in/cut -*awayshots which fixed to a stand or tripod show some details of the main, ac- 2. Shots tion other than actors', faces, in . a. Types , .the,.instance of cut-in; cut-away (1) E S..extreme long.shot; distant depiCts action taking place.at the view of the subject; 'establishes same,,time as main action, but theubjeelintheanclielice!'s..-1, not directly ink7olved in the main actiän;' may be reaction shot (2) I.S-dOngshot;furthe?..estab- (6) Reestablishing shotused to re- lishes and orients the audidnce tO mind the audience again of the `tlid Siibject;less distance from total environment of the action . the ELS d. ContimAitythe shooting and editing

(3) ML--S:medium long shot; serves 4 of pictures in story-telling sequence . .0 t 18.

:' so that the viewer can fdllOW an un- (4) Truckmovi the cara along v interrupted 'line of thought ftom, , witfi a moving ,also called logical beginning, through a logieal tracking 4ddle, to a logical, end ,.: (5) Dolly---,moving the camera from (1) Shot, breakdownthe shoOting of place .to 'plate on Some sortof shots and scenes within- a se- wheeled apparatus; movincam- quence in logical stePs so that era in and gut from subject each sequence will Clearly conVey . positiontheplacementdf,objects the story being iold (with. con- ' 'Within the photographic frarne tintitty) 1. People" andobje&is within' the framer, . (2) Directional continu.tyJ general decision aa..to what people- and object to rulethat poie idobjectq' include within the frame which ineye from right toft'in 2. Trame shapesshapes such as aqUares, one shotshaiild move from rht rectangles,triangles,circular. frames .to left in ethe 'next; 1800 rutall -give differ,ent psychological, reactions; shots' on same side of imag ary may also ,4how silbject to' beat advan- line drawn through main action; tage visual& holds true unless change -is ex- Intetnal framesthe use-of lines and ob- plained by. Use cover shot . -,r.itcts within the frame to create internal (3) Continuity ''ofmean action framepin pictures, e.g., trees, doorways, : that begins in one shot of a se- beams, windowa, people 'stril'ente should continue smoothly 4..Lines and cornposition in the following shots; gap must a. I5irection-4ocuses the viewer's atten- be explained or yiewers are dis- tion on certain part of the.picture 4 tracted by succeeding shots b. Feeling 6f the vieWerdifferent re- (4) continuity of detaildetails like , sponses depending upon the use of props, scenery, clothing same in, linps (vertical, horontal, and curv- similarsequencesunlessex- ing) . plained by another shot c. Attention--directed by lines fo center (5) Cover shOt"covers" and of interest rather than away frain its plains 'any of the deviations m Dominant imagethe person _or object: the preViously mentioned'.princi- which is the mosfimpOrtant in the fratne pIes of continUity- '-.achieved by,...placing.that figure physi-. 3. Camera techniques cally higher tht others, biy having that ,a. Angles figure face the camera, by lighting that (1) Low anglecamera loolcs -up at figure more brightly 6. Center of interest44he 'point where the the subleet; audience feels it-also . ; looks up to subject; makessub- vieviees eyes and attention naturally fo- jectappear ,biggerthanlife; cus within the frame; May coincide with gives the viewer the feeling of othe ,donlinant image awe or respect,: ndláncethe propOrtion of, objects or (2) Eye levelthe shot inwhich the the harmony of eieinents, within the camera and .the sUbject are on frame - ') same level;,gives iMpression a. Formal balancethe enter of inter- aUdience. and subject are equals;(1 . est in the 'center of -t e frame actiOn matter of fact b. Informal . balance7zt e eenfer of: in- (3) High anglecamera looks down. terest other than in- he -center of the on the subject; gives 'the audi- frame' ence a superior feeling; feeling of Appearance of depthachieved by the looking down on the subject . placement of ,objectS at differing dis- b. Movement . tances from the camera (1) Zoomnot a true caviera move- 9. Color and contrasta mixture of colors, ment;treates the illqion of dolly- 'textures, and contrasts; adds variety and ing in andback, but from fixed makes for a more pleasing gicture camera po§itior a lens' effect C. Editing 7 . (2) Panshort term for panoram J. Quality of footage-4--w_fiether shot has moving the. camera' from been exposed property; whether the de- , usualaylo.follOW the action': sired p-bject is in. 'the. frame; whether the (3)Tllt4iinoVing.' the. camera '.up and colors are- true; whether the speed of film achieved desired effect 2. Pacethe relative slowness or speed of will dePict about stibject the illrn; determined by, the rate of cut- III 'Planning the Film ting or tile number of: cuts per minute A. The shooting scripta written, detail of the hen editing thefif ;fast pace.stimu- 'shots to be included in the filin in relttion lating; slow pace relahig to the accompanying dialogue and other 41 Parallel .eclitifigintreuttingtwo or sountjhots-nuinbered consecutively , morelines 'of actio,e.g., a chase se- B. The-, .O yboal-d-t-a- series of sketches sof the quence Various 'Shots tO be included in the film 5. Jumprcutthe eliillation- of fOotage C. Planning cavidsa series of sketches on which would giva:sequence normal ,cards.of the xYarigus Shots to be included in continuity; gener be avoided; car tl'ie film; Similar to- a Storyboard be used sperin jor special effect D. .RelationshipS within ihe scriptc4etermine, .Shot - scene - sequencetraditional pro- the finished lookof the. film .: gression of edited footage; allows for 1: Relationship of eacluiniage :to the images.: continuity of time, directionr-Ind detail' .,iminediatiely prdEptng.and following it 7. Point bf View, shotplacing sh'otjn the relationship., ,.f_pi4iture* picture film which establish whoSe Oint qf View ,2."Re1ationshiP of every-Sound t-the pound is, taken for a-shot, scene, or seqnce; heard _before .arid:afteri and:simultane- rnay also be taken tornean establis g ouslYthe. relationship .. nt'N:soundto ,the point of 'viewtaken by the fiIm mak- sotind er toeard the subjectAieing shot Y. 'RelationShip- .between the tiv97--tti,e 8. Montagea Tepid 4,6Ceiion of images lationShip of...sound tb. 'picture, and pfc, which indicate passage Of time, compres- ture to sound siOnp of time, or other effecti also refers, V. Style and Structure (Form) tO the creation in the viewer's mind of. ; Style-the recurrent'use of tec es; by ideas as the result of the juxtaposition a director across the span 9La 1ms or of a number of. images which singly within the 'scope of one fil . would not have created the effect Visual:techniques B. Audio a: Camera anglesthe repe be of 1. Types available ; high or low angle shots whi .Would a. Tape:recorder create the overall feeling toward a A ,bs: Records , c. Li've character or place t 2. Sounds and.the student film b. Camera movementthe repetition of a. Music ind/or 'narration any form of moving camera which b. Dialogue would create an idea in the maids of c. Sound effeas the audience,' e.g., penetration, rest- lessness- d. Combinations c.:.Framingcorisistent use of interiial

The Idea frmes`, saine location of center , : A. Guidelines for choice .or interest, 'patternsof movement 1. Choice of an idea Which can be ex- within the :.frame;. configuration of pressed in picturesWords.used only as lines narration or dialogue;' main message in d. TyPes of shots,-refieated. use. of. a . . pictures tfype of shot, e.g.; sto. as to. allow. 'the , 2. Choice of an ideawhat can be done andienceto "know the character with available .equiOnient.time, and through observation of facial expres- talent sion; the repeated use of variouskinds B. Song sources . of shot progressions, e.g.,. LS to MS 1. Idea conveyed in film-7same as the idea to CU of the song e. Lightinga progression from ,light to 2. Length of the filmpredetermined by dark, or .vice Versa;, repeated use of the song hack 1fghtiit Or.other techniques:of

-3. Sound track for the filmcomplete be- lighting.' , fore filming - 'f. SettingconsiStentuseofcertain 4.:.Page, 9f `4ditine-:diciated by the sOng. typeP Of locales or props, e.g., mysteri- C. Exarnplgs'frOm fihno.idea lists ons.Victorian houses or swank offices 1.Nikon list froni Movz Maktrig g.. Point of viewtheuse of objective or 2. ,Append4g C from Behind the Camera subjective camera throughput a film, 'The Siatement-,about the subjectsame as e.g.,with one character orin certain point' of view; determines what the &lin tlocations h. Other techniques generated by the parts of ja film; the division of a film into teacher or students, e.g., fade-in/fade-' "sentences, paragraphs, and chapterS"; pro- out, iris use, soft, deep, limited focus gression in the film by different combine- 2. Audio techniques ,.tions of shots, scelles, and sequences a. Narrationthe presence of an omnis- 1. Audiolvisual ogressiondivisionof cient narrator whose word6 fill in the the film because of the use of various gaps combinations of audio and visual ele- b. Musice.g., the repeated use' of a ments; may be the product of shooting ,piece of music with certain charad- and/or editing ters; crescendoes at the end of sec a. Lightingdark ..te light or light to quences; "sounds" of instruments in dark. certain locales b.- Compositionvatious typesof pic- c. Noisethe use of noise to chailge the ture composition marking beginnings center of interest; the Ilse of sounds and endings of sections of a film from the next scene at the close of a c. Angles, movement; and sequence of scene - change of any of these elements to d. Realisticvs.formalistic soundre- mark sectiOns of the film peated uSe of sound as it. would hap- d. The;Use of soundsnoise to provide pen in reality or the use of sound :as transitiOn by use of super-imposition a specialized device for calling atten- of two sounds tion'to something in the film e. The recurrentmusical themes to 3: Editing techniques move from part to part of the film a. Montagethe repeateuse of, a rapid' f. Sound'effectwhether in the immedi- succession of imagesf to creates-the ate environment or_that occur at a dif- effect of comprifiFing or expanding ferent time and or place-off the screen time; or the creTlfion of ideas in the g.Silencethe use of periods of silence _viewer's mind of ideas as a resuli of to delineate segments Of the plot or the juxtaposition of a number ° of therne de/elopment images 2. Dramatic progressionthe development b. Flashback and flash forwardthe use of the actual story line of the film; may of editing to show different tirne seg-, be developed _along the _lines of char- ments in the film 'acter, locale, or events c. Reestablishing shotsuseof - long 3. Them-aticpro gr essiontheoriginal shots to fix again in the audience's planting of the idea which will emerge mind the enyironment - into the theme; the recurrence of the d. Transitional.techniques 'idea; its full explication in the film to (1) Dissolvesthe frequent use of a divide the film into its parts gradual transition from one shot 4. Interrelationshipof progressionsthe to another Use of the three types of progressions to (2) Fade , in/fade - outthe use of'. reinforce ime another; breaks between gradual brightening or darkening parts on different levels occur at the to provide transitions between same time-in the film sequences --,. (3) Super-impositionsAhe repeated Leaining Acdvities use of fmage over image for tran- I. Activities Related to Techniques ' sitions (4)- Jump cut-La transition thatis A. Students will view the films, "Art 6f the confusing or'disorienting in terms MOtion Picture" and "Art of the Impossf- of time and space ble,"as an introduction to the use or a e. Long takes and short takes.2the tem- variety of techniques.. A discussion in a IR poral relationships among shots; iome- large group 'will 'follow the viywing. times much the same throughout the B. Students will attach a camera to a tripod , film to tilt, pan, and Zoom smoothly. . Parallel editingthe use of shots from . , two or more locationsito show simul- C. Students will experiment in class `With sup- taneous action port techniques so as to include video tape g, Others generated by teacher or stu- shots tising hand held suppOrt while sitting, dents standing, kneeling, leaning against a wall, D. Structure (Form) the form or, oganiza-. 'and lying down. A brief tripod sequence ticiri; the sequence or progression of the will also be shot.

. 21 2 7 - P. Students will work in groups of 3-5 to de- strip Which exemplify the various camera vise a plan and do a diagram sequence of angles: seven shots using the seven types of shots Studenti will work in groups of 2.3 to cre- to "close in" on an object of interest.' ate a comic strip of real p..%d/or made-up E. Students will work in groups of 3-5 ta take characters- using all three he eainera still pictures in a sequence of seven shots angles in a ten frame comic strip. using the Seven types of shots to "close in", P.Students will view and discuss tho film, on an objedt of inteiest: "Art of the Motion Pictures," for a second F. Students will work in groups of to de- - time withspecific attention to the film's vise). a sequence,. of diagrams depicting a use of camera angles and movempt. . , man-drinking a cup of coffee using the Students will work in groups of 4-6 to de- principles of "funneling" audienc.e atten- vise and video tape a Iwo-minute sequence tion. This exercise may be transferred on- which incorporates each of the five move- to video tape. ments discussed in class. G. Students will plan shots for sentences from Students will view and discuss "The Mak- a paragraph taken from the beginning of a. ing 'of 'Butch -Cassidy and the Sundance narrative Igtory or noyel using LS, MS, and Kid" as it relates to and demonstrates- CU as the available shots for the sequence. shooting techniques 'covered in this seetion H. The 'student will, collect pictures for a of the. unit. "shot" notebook which will illustrate the seven types of shots. Students will reframe' a series of still pic- - tureS, which will be supplied by the teach- L While working in, groups, students Will de- er, so chgng,b the overall composition vise a sequence which 'might be shot in re- in each. Each -student will be given five verse order (CU,. MS,'LS). Each grOup will pictures and fiveblack "frames" With present an outline of. the sequence and which to, reframe areas cif the picture.. One draw a series of sketches to represent that picture should *be framed to change the sequence. These sketches may be displayed frame shape, one to 14it the nuniber. of on the bulletin board. people and/or objects within the frame,'another to change the center- of interest, the J. Students will plan, and video taPe a two- ' < fourth to establish:a new dominant image, minute sequence incorporating:(1)the and the last to deinonstrate an internal I- avoidance of jump cuts,- (2) onereeitab- frame. These *ill be ,mounted and labeled. ,lishing shot, (3) the use of a cut-in or cut- 04. away, and* (4) the use ofobjective and sub- Using one large poster s1çe picture, the ojective camera. class, in a large group discus gen- K. Students Will plan a sequence of 6-10 shots erate a number of framing possibilities which do not violate the pririciples relating which adhere tO principles discussed in to continuity of detail, time, and direction. class. The sequence will be shot on video tape or Using the samenai-ge poster size picturep done 'in a series of Sketdhes. "students will work in sniall groups of 3-5 to L. Using the video tape equipment, students determine five framing possibilities Which will wOrk in groups' of 4-6 to choose and ,provide for a vareety. of color, contrast, and; record shots in a location of their choice balance. so as to convey a particular point of view Students Will view and discuss ,segments regarding that location. These shots will from "The Men Who Make the 'Movies: consist eof a 20-30 seColid pan without the A-lfred Hitchcock" in which HitchcOck dis- use ofp the viewfinder and-another sequence cussed editing in "Sahotage". and in "Psy- whidh, they specifically choose the shuts cho." The shower scene is specifically re- 7. .to c6rivey their point of view% The students, ferred to and shown with regard to'a ntinv will cOmpalaa the two-parts of the tape to ber of cuts used. . This sequence will be Analyze the differences in the recordings. vieWed a second time so as to allow for M. Each student Will clip and analyze ten pic- better concentration on editing with the turess so ds to. identify the. camera angle additional viewing. utilized in each picture. VV. Stkidents will examine eclitino in television N. Students will view the filnistrip, "Angles commercials for. the purpose of m dsuring of Film," and discuss specific,frames of the28. running time and number of fra,ns for 22

11. each*s4ot. Theyill draw conclusions re- for films. The groups will prepare .--gen- garding\ the relatinship of the amount of - eral description of,how they mightmake a time a shot is onhe screen to the type of film based on a song 'and present this de- shot shown. scription to the, class in an oral presen- X. Students will work in groups to study tation., . comic books for the idea "the shorter the III: Activities Related to Planning the Film better."Each group will then devise a complete strip which will require the edit- A. StudentS will examine a cap py of a slkooting scriptfor'ashortfilm("The Marble ing of the group's ideas in order to tell one Game"), thestoryboard,forthe' Dial complete sequence of events in the re- "Volkswagen" commercial, And a series of- quired number,of twelve fiames. planning cards. Y. Students will shoot 50 feet of film without B. In groups of 3-4 students will cro*a shooting the use' of the viewfinder, view the pro); script, and either a storyboard or plann cessed. film,- estallisli a point of view, edit cards, for a short film on a topic of t the film to conforin to the point of view, choice. awl show the film to the class. This.will be ajgroup ,project with 4-6 students in each IV.' Activities Related to Style and Str group A. Students read appropria s of Stvidepts,-414se the out-takes from their Naremor 's Filmguide toPsyciiii, 'which gr6-up showingpoint of view to con- deal wit1 tchcock's directing style, and struct a 15-secend montage iequence.If discuss the reading .in a large group. -not enough footage remains,. two groups B. Studpts will view and discuss the video may cogrbine for this exercise. tape, "The Men Who Make the Movies: Al- fred*Hitchcock," sO as to further focus on a Working in pairs on triads, students will examine a 10-15 foot piece of I.6mm film director's style. using a viewer:,Students will cut and C. Students' will view- "The Old Grey, Hare" splice this film so As to:(1) reorder the se- or "Nine Variations on a Dance Theme" quence of shots, (2) etther ompress or ex- and.engage in a sm'all group (3-5) analysis pand time as compared toe original, (3). oof the structure (form) of the film. The alterthe, temporal refs onships of the groups will compare findings in a large shots, (4) use parallel edi ng if shots avail- groUp discuSsion. able, lend themselves to that technique. These reedited sequences will be shown to D. Studensrifl view "The RiVer" in order to analy style and form of the film. The the class immediately after .a video tape of class wMl divide into four groupstwo will the original. Large- group discussion will consider style and two will consider struc- follow to ahalyze the differences between ture(form).These groups will report the two versions. their findings to the class in a large group. Students may choose to video-tape their The large group will resolve any differ- first -movies, reedit them; and compare the ences and add new ideas so as to analyze original with the new verision'in a written the films style and *structure (form). or oral report. E. Students will analyze selected student films Students will experiment with tape reCord- in small groupsith emphasis on the rec- ers to record Play back, and erase..Stu-, ognition and delineation of,form. The films dent will also use record plaYers to play will be shown to the,whole class and a brfef records so as to" be familiar with this equip- . description of e group's analysis of the inent.. This equipment will be employed in form given. The psentation will be fol- the creation of sound trackS for student lowed by class discusnrelating.to the ac- films. curacy of each group's analysis. 'II. Activities Related to the Idea - /, F. Students will view the film "Psycho." They will then draw from a hat papers on which A. Students will decide in groups of 4-5. on, are writteh the various concepts relating to . three,general top-IN for °a' film. They Will style. and form, Each student will draw an - 'choose one idea for the actual film proje4 item from the hat and write a paper deal- for this unit. ing with the aspect of style or form chosen.

B. Working in'Small groups, students will list . The paper must be a minimum of three soine so n? which might provide the basis pages in length., 2 9 23

a. .6° - V. Unit Pr _Wet: Working in groups of 4-5, the H. th,e video tape incoorating no jurrip cut, students 'will: reestablishing shot, cut-in/cut-away, and objective/subjective camera may be evalu- A. Narrow their original three topics down to ated. one for the actual film. I. The point of view video tape ma); be B. Construct a storyboard or- shooting script evaluated. , which must be turned in and approved by , the teacher before shooting begins. J. The 6-10 shot sequence relating to continuity mey be evaluated. p. Incorporate rules of shot techniques, camera angles and movement, and composition° K. The comic strip utilizing the three camera in planning and shooting the film. angles may 'be eyaluated. ,

D. Complete shooting one week hefore bhè. L. The video tape sequence using camera film due date.- /movements rnay )2e evaluated. E. Coordinate asound track with the film. MI,. The series of five pictures from the fram- F. Edit the film and prepare it for class-viewing exercise may be collected and evalu- ing on the assigned day. ated. G. Show the film ,for the entireLàss. N. The series of five framing possibilities for color, contrast, and balance may be col- H. Participate in 'a class discussion to estab- Jected and evaluated. lish:a critique form to be ised for student evaluation of these projects 0. The 12 frame comic strip which tells a complete story may-be evaluated: I.Evpluate own and othe'r student films using

the class devised critiirue sheet. vs P. Tkepoint of view film done in groups may , . EZ' evaluated. J. Submit a written one page evaluation of the student'sown, participation in The Q. The 15-second montage sequence may be f project. evaluated. R. The rearrangement of thel6mni.film mar be evaluated. Instructional Assessment S. The reediting oY the student's first film may, I. A number of the activities may betaken as, be evaluated. measures of student behakrior. T. The student's description Of---how. his/her For example: , group song MO would be shot may be Al Observing students attach a camera to a evaluated. t tripod may be' considered evidence of their U. The student's responses to the questions éompetence in that area. dealing with the Naremore reading may be B. The student's oral description of the differ- evaluated. ences between the hand-held and tripod V .The student's,analysis of the structure and video taped 'shots may be evaluated. form of the film "The River," may, be C. The sequence of di,4r)amsof shots from evaluated. ELS to EUC may be collected an&-evalu- W. The three page analysis .of one aspect of ated. structure or form of the film, "Psycho," D. The video taped sequence from may be evaluated. ECU may be evaluated. II. A unit test may be'administered to assess the E. The plan for the sequence of shots to match student's grasp of the concepts presentein the paragraph froth a narralive may be this unit. evaluated.' F. The student's collection and identificatiO III. The unit project which is designed ^ of various, pictures .. exemplifying camera' size the yarious coneepts el'aborated within shot tyPes niay be evaluated. "The Filni.Making Experience" ;unit should be - 1- taken as a laige measure of the student's mas- G. The iequence of 'diagrams of-teverse order tery .of the knowledge and skills which are ofshots may be evaluated. covered in this unit. * Unit References

Bokker, Lee B., Elements of. Film. Harcourt, Brace and Vjorld, Inc., Chicago, Illinois, 1969.

Brodbeck, Emil E., Handbook of Basic Motion Picture Te hniiques. American. Phdtographic Book Pub- , ..lishing Co., Inc., Garden City, New Jersey, 1975. Coynik, David, Movie Making, Loyola University pressr, Chicago,- Illinois, 1974. Grahain, Peter, A. Dictionary of the Cinema. A. S. Barnes and Co., Ihc., New York,19681. Goodwin, Nancy, and James J. Manilla, Make Your Own professional Movies. The Macmillan Corn- pany;.igew York, 1971. hiuss, Roy, and Norrnan Silvestein, The Film. Experience.:-Hat:per and' Row, Publishers, New York, 1968. Kinsey, Anthony, How to Make. Animated Movigs. The Viking Press, New York, 1970. Kvdak customer service lisniphletsavailable from retail photo suppliers or from the comPany. Kuhns, William,. and Thomas F. Viardino, Behind the. Camera. Pflaum/Standard, Dayton, Ohio, 1970. Larson, Rodger, and Ellen Meade, gYounb Film Makers, camelot Books, Avon Publishing Co., Chicago, Illinois, 1972. . . Livingston, Don, Film and the Director. Capricorn Books; New Yoik, 1960.. Lowndes, Douglas, Film Making in....Schools. Watson-Guntill1,Publications, New YOrk, 1970. Pincus, Edward, Guide to..plm Making. Signet Books, New York, 1972. Sheridan, Marion C., The Motion Picture and the Teacliing of, English. Appleton-Century-Crofts, New. York, 1965. . 'a. ..Srnallman, Kirk, Creative Film Making..Collier-Macmillan IAd., London, 1968. v Spottiswoode, Raymond, Film and Its Techniques. University of California Press, Berkeley and Angeles, 1968. . Yulsman, Jerry, The Complete Book of 8mm Movie Making. Coikard, McGann and Geoghegan, Inc., New York, 1972. 1

25 1 UNIT FOUlf.iii 14 THE FORMS OF FII1M Introductory Statement same images, may spe perceptior,rs of America and the world for a young person. Now, the std.- The study .bf the Western genre is essential to dent must assess the quality of these film forms. ah understandinke the Ameritan movie indusn Vry. Perhaps, it is-also essential to the under- Instructional Objectives standing of America.c 1. Given a list of familiar films, the student will 'Frank Manchel , "The Archetypal 'American" be able to classify each by form akd genre. , , . , 2. At the conclusion of this unit, the student will

.While Manchel states the importance of a particu- be able to accurately differentiate between an lar genre to the understanding of America, it is "underground film" and a regularly distrib-, clear that the western holds no monopoly. Cq- uted tainly "Little Caesar," James Bond, and the antics 3. Given a short film, the-student will be ablerto of Laurel and Hardy provide insights as well. In- &Scribes six, characteristics of the short film deed, the genre film says much about the American which are exemplified in the .viewing eXperi- movie industry. ence. . This unit attempts to familiarize the student 4. Having observed a variety of :films in the with the style, recurrent subjects, themes, char- course, the student will be able to compare acters, and iconography of the genre film. It Will. and contrast the short film with the feature also present an analysis of the short film, thedocu- film .pf a specific genre; mentar94 and animated films.As the student learns to classify films into these forms, the char- 5. Using contemporary TV programming as a acteristics and types of films within are explored. source, the student will 'be able to compare and contrast, the use of the short film in com- N.Alheshort film covera a wide Variety of styles, mercialand news programming such that techñiques. and purposes.This, classification is commenti,..On -quality, techniques,and effects completely' determined by .the length of the filtn, .are included The student must consider what characteristics 4 are determined bY time limitations. 6. 'At the end'ot- the unit, the studentwilfbe able. to generate a, list of five elements of the edu- he student learns specific animation tech- cational film which could be parodied in a niqu s through viewing and film making activities. short film. # Stylq of the animated film are analyzed through W Disney cartoons, kinestasis films, and pixil- 7. After discussing the chatacteristics ofthe. lad films. bhPrt Almr the student will be able to desig- nate at least five areas. outside of gthool and The student will recognize that the documen- television where short films may be viewed. tary film has followed, a different evolution than the "Hollywood" film. Through viewing documen- 13. Given a documentaiy unfamiliar to the view- taries of different eras, the student can classify and er, the student Will be able to analyze tech- 4. distinguish styles and types'within this form. The niques of the doumentary such that comments students will apply these 'concepts by making ,a relating to point of view, narration, personal documentary., interviews, camera use, and peauasiVe im-:. pacts are included. Although the western is the eawith in depth in this unit, themethoof approachay 9. Given A definition of point of view, 'the stu- be applied to ,any genre. Students are eAouraged dent will be able to creata- videO,tape show- to expore the different genres .through such activ- ing the same event from tkree points. of view: ities -0panel presentations, extra credit film re- , a child's, a college studentand an elderly views? and the unit project which allows them to., 7 person's. 'make a fdin of any fofm Or genre. en a one-half cartridge of film, the student The student has grown up with the° cOwboY, the be able to create a documentary whieh, spy in the trench coat, the monsters of the science depiCts a day oç event in the lifs..of another. , fiction films, so he is able to share many experi- ,stulent such th t4oint. jof view lb clearly ex- ences and much knowledge with the class. These hibited. '

3 2 P,. . 11.Gi/Ina descriptidt of a potegtiallY volatile 25. At the end of this unit, the student jwiil be news situation,tite staant will be able to cre- able to dishiss the various characterjstics and ate a brief Spenctpio which adheres to documen- elements of A specific genre of hiser choice. tary techniques. p. ' \ e, 26, At the end of this unit, the dent will be 0 12. Given specific e2tamI lesof current events able to match, spekific ictms with the appropri- television programmg, the.:9tudent will be ate genre. .q.' able to identify all ilitances of "loaded" or 27. Given -fwo films from different . cultures, the editorialized canters Pork. _ .*.A., ' stalent will be able to identifY four elements 13... At the end of the it, the student,will he able of the filths which are cultdally dependent. to define the term 'documentary' in his/her 28. Given examples ofgenre films, the student own words. , , i will be abletio identify ten differences in the 14. Given examples of documentaries from differ- portrayal' .of violence in the western and in ent periods, the student will be able to con- the gangster film. trast the style of these Periods by citing at ? 29. Given an "unders;anding of the convention§ in least six characteristics. . 4, genre films, 9-ie student will, be able to list; at 15. Given the use of video taping equipment, the least ten sliecific examples of /invention in students wille able to create a behind-the- genre films. . scene documeniir for a ithigh school activity. 30. Given a western film, the student will be able to analyze four of the six major genre char- 16. At the end of the ujit, the student swill be able acteristics such that tbe comments incipde to describe six characteristics of the animatsa reference to such items as culturally' dep&id- film which are exemplified in the viewing ex- ent traits, common recurrent/subjects, common perience. theme,, similar plot, and action, 45;imilar char- 17. given an animated film., the student will be ttterization, and iconograp able to describe six characteristics of the ani- 31. Given a western featureAlm,the student will mated film which are-exemplified in the view- be able to identify ten icons used and a least -- ing experience. t two elements of invention used in the,uflm. 18. Given an entertainmenik,artoon, the *student will, be able to identify tWo' differences be- 32. Given a documentary of the old West,- the,stu- tween cartoons and other animated films such dent will be able to compare the myths por- that -the comments include purpose and con- trayed by western films with the reality of the tent considerations. old West by citing ten differences. 33. Given the viewing of a TV western, the stu-. 19. After a discussion f the animator's role, the dent will be able to discuss the' use of inven:- student will be able to identify, five aspects of tion in the program by commenting on char- ` tontrol an animator has over the finished acter traits, icons, plot development, theme, product. setting, and subject.. 20.. Using an# resources at his disposal, the stu- 34. Having obseryed at least one film spoof Of the dent will be able to , design and produce a western genre,"the student will be ,able to Jist storyboard for an animated film: so that at least eight changes made from the classic camera cues areslearly defined elements of the genre. 21, Given pixillated films for examples, the student wN11 be able to dehne pixillation in his/ Content Outline her OWn ,words by refer,ing toJro. examples I- of pixillation in the films. I. Methods of Classifying Fils A. Length 22. given kinestasis films for exañTës, the stu- 1. Short filmfilms lessan one hour ,c dent will be able to define kinestasis by listing 2. Featu e filmfilms mothan one hour five specific images frorri a kinestasis film. B. Purpos 23. Drawing on the student's own experiences, 1. To i formto convey, knowledge the studelit will be able to list five formulas 2. To educateto socialize that are commonly used in cartool. 3. To persuadeto change or reinforce at-. - titudes or behavior 24. Provided with resource materials; the student 4. To entertainto provide, enjoyment will be able to correlate frends in genre popu- ,5. To make social commentto indict or, larity with sociological conditions of an era. support a situation

.. 27

3 3 6., To make persbnalstatement-deter-. : 2. Dissent over ddfinitia mined.bY individual film maker a. Creative interpretation of reality C. Film make?.' lj b. Films which do notinterpretor 1. Professional-commercial or under- change realq '

. ground film maker; money-based c. Man's relatiOnship to society! °(social, 2. Arnateur-undergretrd,experimental, :political, esOriomic, or scientific) or home movie mak& d.' Spreading . information,I truth,.en- 3. Student-schbol/collt school made lightenirient. D. Techniqes e. Mikes statements about life in such 1: Silent/sou d film-usually determined a ,Vutiy -that'. an audience 'draws Con- . by date clusions ' 2. B & /colofilm-Vith or without use f. Records rather than Creates .; of Cor tech iques 3. Rarely Ases "actors," 9r "staged!' seen-. 3. Aniniated film-uses *sing16 framing, pix- ery, or effects illation kinestasis , 4. Film maker .tisually gives up some con- 4. Computer film-has computer generated, qrbl, Over the end product in order -to

, images maintain realit E. Style ,5. Experienced differt historical evolu- 1. Genre-co on framework of subject, than other *fil plot, 'characters, icons 6. Often at odds with lion films,intheory 2. Doctimentary-makes statements about and echnique reality; no actors; point of view 7. Strg point of view .frequent 3. Experimental-usesinnovativetech- B. Types niques 1. TeleVision -documentary , F. Exhibition a. Crisis report-,responds to a news cric 1. Theaters-professional, commercia sis; timing essential,' e.g., end at Viet )showings nam War 2.1Film festivals-often runs new films; b. Investigative report=takes a position art, student, or professional an issueimmediacy of release not 3. Cooperatives-film groups as essential, e.g., plight of the migrant , 4. Schools-educational use; enjoyment workers 5. Personal use-home use c. Biographical report-that which in- terprets a than or figure, may be "in II. Analysis of the Short Film -the can" until needed, e.g., death of; A. Characteristics De Gaulle 1. Classified by length 2. Rotha'4`Traditione of the dOcunientary -2. Covers wide array of other classifica- a. "l4affiralist" traditiori-show, s primi- tions-animated, documentary commen. / tiye man pitted against hiS' natural cials environment,e.g., "Nanook: of the 3. Often us d in classroom for educational North" purpose b. "Realist" tradition(or Continental 4. Freque tly vo.hicle of amateur and stu- Impressionism)-focused on ihe hus- dent filn maker tle and Imstle of city life; a faicina. 5. Frequent otent persuasive for e tionrfor machinery, e.g., "Berlin, Sym- 6. Style seeks to..e concise and coact phony of a Great City" .7. Often seems more contemporary e to c. ,"Newsreel" traditions-showscover- shorter release time afte _filming age of actual events or shots that look B. Types like actual events; advocate specific 1. CoMmercial-adveNvements, industrial, attitude toward- issues,e.g.,1

editing . 5. Biblical-the spectacular, c Siumes, sets c. The event itselfrather than any pre- 6. Science fiction-the "gimick,"te conceived story or theme, dictate,s thel niques focus filrnokUcture , 7. Spy/detective-action characters d. This approach has been made possible .-. focus; by mew equipMent ,lAch makes film 8. Comedy--may be verbal, slapstick, maker clOSe .to phisticated Style t` a . e,,,tvarra'tor, out; actual .sounds and con= C. Invention Genres ° `Versatidns recorded 1.1Depend tit :4flce first, knoWing f., "The Chair," "Adventure of a New style FiOntier"! v. 2. Mixingons from other genre-ears in welterns IV. Analysis of the Animated Film 3. Ingrting new themes-the "rebirth" in A. Characteristics , Sci-Fi (2001) ; 1. Classified by technique 4. Developing own dislinct 'style of film 2. Creates motion from inanimate objects making--techniques, John Ford'sset- 3. Creates new types' of motion from ,ob-. tings jects and people 5. New character types-the "Clint East- 4. Often expresses genera zation(little wood" cowboy detail) 6. Changes with eras of 'popularity 5. May deal with social, po tical situations a. Exhaustion of old conventions -not just "cartoon" mentality b. Fading of old stars and arrival of new 1. Often persuasive not just- entertaining, p.,new filming styles-editing 7. Animator has total freedom *With 'prod- d. NeW technology uct e. Societal attitudes ' , ç. Cartoong4horts often preceding tea- VI. Analysis of a Sp4ific Genre , ure at theater; used4requent1y on; tele-A The Western vision;. mijOr studio animation cloied; much happening. experimentally - with . A. Traits culturally dependent cartoons by:experimental animators 1. Fascination Wiith the West 2. Rixillated-beople or objects appear to 2. °Interest in 'our nat,ional origins . 3. dlepresentative of the American. psyche ' !noire ,,in:neir Ways zby single' framing; balls can bounce-without people; pebble -challenge, struggle and connpetition to ,maY move in cars without a frame aehieve goal; good over eviV ecently a trend B. Common recurrent subjects 3. Feature ength-more 1. Survival in the wild West : with " ellow Sub e," "Fritz the 4 Cat" ixerimentat< h color shapes XInclians vs. white men and f with in nar'fative trh- / 3. Cattlemen vs. the farmers . 4. Gunfightek, who tries to escape his past niques .* 4. Kinestasis-,--uses pictur s in rapia mo.n- 5. "Gang" vs. the sheriff tage, e.g., "The America Time Cabsule" . & Bank robbery and the chase 7, ."Recivililation" of a Jcidnapped victim .V. Analysis a Genre C. Common themes , A...Characteristics, 1. Wilderness vs. civilization

.1. ClassifieC1 by'style . 2. Law add order over crime 2. Traits culturally dependent 3. Seeking a new life 35 Common recurrent subjeots 4. Love, vs. honor and duty 4..ComMon themes 5. The greed and selfishness .5. 'Sirhilar stories-/plot, action 6. Violence as a way of life

41 D. Similar, plot and action Learning Activities 1. Bank holdup/the train hopup .. 2. Chase. I. ActivitieS Relating to Classifying Films 3. Beautiful young girl taken as hostage 4. Town banker as the villaln who leads A. Students will be given a list of familiar the gang films which they are to label and,ilassify. 5. Shootout A discussiono in which the Students sup- 6. Ambush port their, reaSons for classificaticihs, will 7. Rescue .follow. They are to consider that film 8., Reconciliation and love conquers all forms often overlap. , E. Similar character B. A moderator:pi a local film society4will. 1. 'Ounfighter speak on the methods, of diatribution.and . Sheriff. exhibition. The focus will deal with the 3. School m atiotiale for showing specifie, filkns, espe- . 4. 'Punk 4IY cially considered "undergroundslo, .5. Weal y landowner . Or "experiMental," and, how the classifies- . ,..,7O. Dmee,hall girl . ...- ,.;,... .,,,tiOneiaffects the availability of those films. 7. Desperadoes who follow any cOmMands of Pthe boss': II. Activities Relating to the Short Film -,, .P. Iconograph'y (reCurrerit syjnbo1s)...1 1, Gun' \---- ' A. The class will view a film entitled "A 2. Buckboard Short Subject" which is one minute in 3. Stagecoach length and depicts Mickey. Mouse going 4. Cowboy hats to Vietnam 'and getting, shot. A class 5. Chaps analysis of the characteri§tics.of the short 6. Spurs film will follow. . 7. Saloon ., 8: Gambling and poker B. The film, "Electronic Labyrinth," will be 9. Range shown as an 'example ot the short film 10. Fence which falls into a genre and tells a com- 11. WaterhOle -plete story. The students, will-discuss, in 12. Horse large grodp, the differences in elaboration .....: that occurs in this short film vs. what de- G.Invention; in the western le .,. velopments,4 might: have Occurred -ina. 1,,Dependept on audience Ithowing foripat, _longer -Alm., They will also consider the . e.g., "Blazing, Saddles".' . effects the determinaticm of length had

. 2. Mixing dew icons inears ( tutz-Bear- on the addience. . cat). karate (Kuw Fu) , 3. Inserting new themessocial injustiCe C. Students are to keep -a log of television to minoritiei, e.g., "Kung Pe viewing for a week in which they (1) 4. Developing qwn distinctstyleJohrf analyze commereials -noting approximate , Ford Mining ih Utah and painted dezert; length of each, purposes, and central ve- the Italian western, e.g., "Once Upon a hicles; and (2) watch news coverage and Time in the West" note how the short film is used in this 5. Changes with eras,oUpopularity format)? l'hey should 'considerartistic a. Exhaustion of old conventionsnot qualities of the' technique, the impact of many Westerns made for release in each on the audience, and clarity in con- , i' cOmparison to the '50's and '60's; audi- tent. These logs of news and commercial ence interested in new genres shorts will be tabulated in a one page comparison. b., Fading., of ,old stars and arrival of newJohn Wayne'replaced by CHM D. Students will. View the film, "How to Eastwood .., . J . Eat," a parody of the short educational c. New fihning stylessloW motion and filni.In small groups, students list freeze frame\;./ some specific elements of real educational d. ,New "technologynot -really' evident films which are being spood. The short in Western as yet , , film has long been noted for its educa- e. Societal ,attitudesinterest 'inanti- tional use. Students will be asked to dis- 'hero'. rather than hero iinage;the' cuss the evaluation; use, and effects- of "white hat" image unpopular, now. . these films. : 30 3 6 E. Students are to list at least five outlets film. The will make an oral presentation they have to see the short film outside of before the class in a three to four minute school and teleVision.Students will be report. as'ked to reason What elements dictate their use elsewhere. ,, I. The student may chooser extra Credit' ' to video tape .a behind-(1Pcene, docu- ActiVities Relating to the Documentary i ' mentary-of some sco activity, such as a dramatic perforth nce, a sports event, a A. The class will View "Harvest of Shame." school board meeting, or. a student council Afterwards, a teacher-led discussion will meeting'. take place: ilch techniques As int of . a . view, harcitticin, personal interws, cam- J. The class will view the.: doctimentky, , era techniques, and peitu n in the film spoof, "The Griffith Report,":,and record will be discussed. the objects in' reallikOcunientaries under. attack. . B. Using thAvidgo. tape machine, students will work in groups of four to tape a IV. Activities Relating to Animated Films. scene three different ways: from the ..standpoinC,of a childa college student, A. "ChromOphohia" will be showh. After .a and an elderly 'citizen. The students may discussion of the characterstics of the ani- 'create any scene they wish or take porta- mated film, these guidelines will; ap-. paks to other settings. The emphasis is ti:o plied to this specific film. portradifferent points of view. B. The Sul*. 8 version of "Three for Break- C. Th ents will pair up to film a day or fast" will be shown. T urpose an an event in each other'lives, using one- _., concept of the cartoon Wilbe lked half cartridge of film. They could film about afterward. Techniqdes oflming the,day, the way they,s e it themselves or will also be discussed. from others' impression's. The films will C. A local animator will be brought in to be shown to the eits and discussed. 'show and discuss some of his films. Ideal- D.. A panel discussion will be held .in which ly, students will also be able to see pro- students will discuss the concept of "are fessioni animation equipment at a uni- some things too hot' tn report" and w4io versity lab or at die animator's workshop. determies what the put)lic will see in ,"touchy:' matters.After the discussion, D. Students will work in groups of four to students will draw up a brief scenario five to create a storyboard for an 'ani- .for a docuMentary on a local event work- mated film. They' will be held accOant- . . ing in groups of three to four. able to'discuss their concept and the frlm techniques they would use to create their E. StUdents are to make a 'log of television1 . . images. viewing for one week in Whi,ch they note ., 6 I any '`loaded" camera work which editori- E. The class will view "Clay"and "Ersatz" / alized ,an event. They could also view and respond to the pixillated moVement variousreports of.ihe same eyent to note they. observed. ifferentviewpoints displayek Their F. "Gad is Dog Spelled Backwards" will be . findingiill be written up In a two-three. shown to eXemplify kinestasis. Students page pa 6r. will be asked to respond by listing any . F. The students will work ipcgroups of four fivespecific images they remembered to five tok(Jevelop Criteria to define "docu- from the film. A discussion of the effects mentary" using their experience in this of using "art" in such a manner, will unit. The definitions generated by the follOw. small .groups `will be rePorted, to the G. The film, "The Do-It-Yourself Cartoon Whole class-and evaluated: I. Kit," will be shown.Students are :to "., The students will view a classic doeumen- watch the filni for "formulas" that are tary such as "Narrook of the North.They 'regularly usekin cartoons. en- will compare that style of the doc H. The book, The Art of Wait Disney, will taxi, with more contemporary ,styles. ' be brought in and shown to the class. C---''For extra credit, students may write a H. For extra creckt, students may choose to-, view and report on ,a documentary such ' short 'report dealing with a part. of_ the as a neo-realist film Or a cinema write' book. Ci li 31. 3 7 -! V. .Activitics Relating- to Genre C. Students will be enenura'ged to (Li) further research into the western and the era of A. The students Will *Dik in gi!oups to cor- the West. A small liPrary . will bo set up relate .an era in,film 'history with the in Ow room wipi resOurces. Extra credit popularity of a g6nre.. They will have ac- reports,will be'encouraged. ..dess to several reSources te do so. They will ,then present .,their findinds to the 1). The docUmentary,."TheRealWest," .class as a .whole and attempt to hyppthe-, (N4C,TV, March 4; .lfril) will be shown. siZe,the reasOnlor thederire'spopullfity. Students will compare myths. witli rcality

. The' :establiShinenf otte'nc4 analyzing' libertiesfilms' have taken aPparent after all rbiporfs arti comPleted. ' . 'with history. B. As a project, students . are to work in .E. Students will choose to watch one spe- groups.and 'select a genre, other than the, CifiC television western. They are to ana- one theclass will sttdy indepth, on lyv.e invent* used, and write a suirunpry which:to give a panel presentation. ,This discussion to be reporteil.tO the OAS: presentatidn is to be at. 1east seven min- F. AspOof .of the Westerp Can. be 'seen:- Ex- utes in length and 'should give an over, aniples might be' ."Cat Ballou," "Thé.,0y.ekr- view:of the genre by using the character- the-Hill Gang," or' "Blazing Saddles:' . istic traits given irr content outline. ;Students:IWM be asked 'to, indicate what classie-elernents are changed. Tlu2y might C. As individual projects -for extra credit, aiso consider What .changes are made in students may wish to report on a film.` thoeve seen which is representative of camera, sound, and 'editing. another genre. This' should be a written VII. Unit Actixity: The student will make-a film repOrt of.. two 'to 'three 'pages. rel.resentative of a documentary, an animated film, or a specific genre. They may D. Students will work in teams to present a work individually. or With itpartner with.. charade-type "icon" game. Props, objects, approVal of the teacher. The films will be or Pictures of costumes; and characteriza; tions may be shown. The other team -shown to the class7and. evaluated. must then identify the genre from which the iibn was taken. Points for the teams Instructional Assessment will be totaled. - I. Various activities may be taken as a measure E. Students will viewtwo films, "The Seven of student ability.For exaMple: Samurai" and the "Magnificent Seven," 1. and compare hay cultural differences .A. The&udent'sability .ta classify familiar affect the films. fill'n titles may be evaluated. F. 'As an overnight project, the student will B. The stu'clent's al/fifty to define terms 'used chart the differences between violenceine, within the unit m be evaluated. a western and gangster film. Such items C. The. stUdent's participation in a dismission as how many people are injured or killed, Nhich apphes characteristics and qualities how the gunplay differs, and what at- of film: types to .a screcificfilni may be titude is taken toward Violence will 'be evaluated. included. D. A one psge paper discussing the use of the G. Working in small groups, students will . short film on television news and commer- list at least ten examples, of genre films eWs may be graded. . which have used inventiOn. TheSe inven- 4 tions will then be -reported tothe whole E. The student's analysis of films may be evaluated. class. . F. A video tape Which presents three points )VI.Activities Relating,to the Western ° of view may be sCored and graded. A. The class will view the film "Let's Shoot G. The film which is made.by two students the Devil;" and analyze the film's discus- recording a day or event in the life of the sion of the western. . partner may.be 'scored and graded. . . B. The wes`tern, -"Winchester '.'73," willbe H. A- scenario depicting a local news .event shown anct discuspe'd thoroughly -in re- gards to the western ehai-acteristicseo- .m be scored and graded. 'nography and invention. '38 I. A o to three page paper suminarizing a 32 -.0.1eeles itlevision vikwhig lookit ..; for load- '1"flic 'student'N participation' in charade- ed &atmI%i worlill'may be seorM. Id graded. type "icim" giune may.be evaluated. .J. The student's participation in14 discussion U. A throo p:Ote comparison of ,"The Magnifi- comparing docunientaries of different eras cent :Seven" and -,the "Seven Sarnurai" may ..may ije. evaluated.( be sctired and gratred. . K. An extra credit repoet on a film viewed' V. .\ chart depicting ten ,diffei.....nees in nor-. -.trayal of violence in western and. gangster may be considered: ., .-..y. tilins may be-scored and gnided, extra credit' projeCt depicting a "be- ilinb-the-scene" thicumentary for a school W. The student'spartioipationin . asmall activity may be' grad group disVussion which generalcs examples of 'invention in genres may be evaluated.

. M. A two page papOr arizin!; knowledge gained 'from a, 1, speaker who is X, paper: which identifies icons and inven- an animator may be .scored and graded. tion in a W9stern film may be scored and graded. , . N. A storyboard' of a proposed animated film Y. An extra credit report d6aling with a sp may beaecored and graded., &ifi; bbok or subject may be evaluated, 0. A one page joper evaluating techniques in Z. The student's' participation in a discussio pixillated films Nay be7sCored and graded. summarizing invention .in television shows P. An 6xtra credit. project .report on anima- may .be evaluated. tioi evaluated. AA. A written report analyzing .afilm' which spoofs westerns may be scorediand graded. Q. The student's Participatioin a discussion . correlating eras and reas ns for.popularity II. A uni4. Project film may be scored and graded. of genres may be evalua ed. III. A unit test or paper project may be given to R. A panel disctAsion of 'a s ecific genre rnay 'assess the'student's knowledge of thejsubjeet

. 'be,graded. ,material. . - S. An extra credkreport.dealinwith a film IV. StuOent attendance and participation iii this representative of- a specific 'genre may be unit should be considered in determining the .evaluated. final. grade.

Unit References

Brode, Douglas ed.,'Crossroads to the Cinema. Holbrook Press, Inc.., Boston, Mossachusetts, 1975.

Caar, John, and Wm'. Kuhns, Teaching in the Dark. Pflapm/Standard, Dayto,Ohio, 1973. - Coynik, David, Film: Real to Reel. St. Mary's College-Press, Winona, Minnesota, 1972.- Feyen, Shearon, and Donald Wigal, eds., Screen Experience: An Approach to Film. George A. yflaum. Puglisher, Dayton, Ohio, 1969. Jacobs,'Leivis, The Movies as Medium. Farrar, Straus and Giroux, New York, 1970. Kuhns, William, Movies in America. Pflaurn/Standard, Dayton, Ohio, 1972. ,L\t'actann, Rithard Dyer, ed., Film: A Montage of Theorki E. P. Dutton and Co,, Inc., New York, 1966. 1310/tet; G. Howard, ed:, The Complete Guide to Film Study. The National council of Teachers of Eng-

= lish/Urbana, Illinois, 1972. . .Talbot, Daniel, Film: An Anthology. University of California Press, Berkeley, California, 1967.

eirs/- 33'

3 9 . FILM CRITICISM....' I,

Introductory Statement . Given a professiorirevioly familiar nirn, the student win 101' nide to' sumniarivv that re-. flow,clearly (*ethic should not. . knourinirty- view such that tlio primary focus of therc body: His liti'nd shiuld ITAynitipt.every)inan view is delineatiql cod.every.nian's luind.,ayniimt. his: 6,Given. proles:am-011 Written re- Bernard Shaw Nio.6 of a film,theandstudent student will he.able to Film 'crlticistia difficult and perplexing endeav- evaluate those Critiques Nuth that the. evalua,

oroffers to the student of film a.inore complete ,,tion locuse on Hi(' .;idnerence to the, lour as- enjoYment of the art. More than a mer ,. assess- Erects of litni eritiCi,;;.in ment of 'whether the film oilers entertainment, 7.Given res6nrees. ic qting tp ..profestih).tia,l, film film,eriticism attacks the More subtle and complex erities, thestudent ,,,itrb64115le.I0 hypothesize aspects of the . .two (fMilitications th6-,tilm critics. The critic is r ore than a reporter, who merely 8. Given resource tra-tkils The student:willbe retells the ,story, The critic analyzes and exploOs . the film .in light of both its jechnical nnd social ahle lo discus& tlic spec-die co,tijiticaitong. of ,a . " film tritic ifhe.30-1C1.jrit'N"chotee, -significance.' 9.G4.na series of etiticitie sheetsfro.m ,other 'This unit provides en oppOrtunity 'for students film cotirses,--the stnclant Will be able i/Pdevige to engage. in Various .critical netiVities related to . -a film cr.itiqUe she:1-A-mrhith includes thefour proftssionaLiJlms, to examine works of some contemporary p ofessional critics, and to apply the cate:fories of newly found. principleS Id their own works. 1t .ctiven a Clit:iSokAtiSed.CritiqUe sheet, the stut The progreSsion of this course leais logically, deill will ht....offle tnQritique his/her pW,11, . prOduced in .1hiN c9LO'sa .sueh "triat: each to film criticism. Froin the eXploretion.Cf .the na- , on the critique she( t()hiplete: ;`.( . ture of film, through exploration of equipment-and , techniques,..to exarnining various forms of films, ; 112' Giveni elass devied eritioue sheet 'illestu.: the student has broadened'his/nbr 'background and ch..nt will be eble't,Q ernkque:a at least four 'OtiVer.. knowledge of film. The student. iS now ready Ai; student films sucp that .Coch itera on . become, more. xritical ,becauseyof this expended tic-u..le..shei...t is corii01(:ted far,eachr4vie'W.' knowledge-critical of what is-viewed; and critical of his/her OWn 'work.. , . . . 12.; -Givernother'g Pf one of the-stOdent,S films. the student IN111 bP.tit)le to sy'nthegie the. ° The 'finer Unit dealing with the. future': of film . comments. pelatecl- ta the ram such that hetshe, copletes /the introductory course in film study bY lists .five prAitiv. OPecta and fiveitegth.tie..es-i,

ex rhiningwhat-bur-preSent aft_ may become. TbC pect& of the , . - °. stu erit. Will -bc more prepared to evalilate the film 13: Given ashort of te futurebe,cause of his/he i. ability to wisely. write a..three page x-vidw- .which include&stlid: evaluate the film of today, - four, criteria ern01.0d by piofessienal criti6S. two other gritg/laPf his/her oWn eh'oice. InstructionaL OblcetiVes , , . t 14: -The- 'student ...war balak '1,s;..coiniarl-rWtie.r. 1. Given a film vievfMg experience,The stUdent ' Writtefi rettiew of,ifillp to a roviewWritten by .' , will be able.to critique that,Plin using criteria a professi nal critict4cbfhat the focus of. the. which have peen deVeloped by the stuhnt. comparxs9h is an ttie conpleteness Of deserip- .Given resources relating to film ,criticism, the -tion. a is, interPretalion, and evaluation.. . -A :4ttudent will be, able to generate at. least two " justifications.for film criticism. ,.. Content ntliiie, 3. The student will be, able to list and defind four I.'Reasons tar FiLm Catfcistri , ysaschtic.may look at a film (describe, ana-,. A. Multi7dimension4j vs.. single' dimensional ly e, interpret ati.d. evaluate). experienceihereOses fhe awareness of the 4. Gn a film vieWing experience; the student interrelationships in the parts of 'the filfri; will be able to criticize tlfat film such that de= examines moie than ohe aspec0 te6TiiClue, scription, analysis, interpretation, and evalua- I.Palue,"quality; chhances the enjoS/inent of - tiori a'ke included in the critique: 40 the hitt 4 n ,k , B..Greater awareness.of film techniquesal- strong description, analysA, and inter- 'lows for a refinement of the ability to rec- r9tation - ognize, analyze, and evaluate' the myriad 2. Ctiteria-based evaluation of film )ec hniqUes previously studied a. Social valuewhether the idea pre- C. Gre awareness of style and formal- sented cuts asoss cultures and/or , lows for broadening the student's frame.of -generations: whether a moral "or some reference related to the utilization of spe- universalityof ideasispresented; cific techniques and for developingthe abil- stress on some idea which educates or ity to delineate form within a film socializes D. Greater selectivity in own viewinga criti-' b. Econoniyin content arid techniques ); cal selection of the films which the student all. that is in the film is needed; all sees that is needed is _there II. How a Critic May Look at a Film 3. Personal taste-based criteria A. Detcribeto verbally explain the plot se- a. Pervasivenesspresent inall other' quence, the characters; the techniques, the criteria; can become' overriding ele- director's style, and the Use of icons ment' in some critiC's wOrk; impossi- .1. See from various perspectivesdiscov- ble to escape personal perception even ery of dimensions of the art of film ,-... when attempting to focus 'on other which were previously -unknown to him/ elements of the-critical process her, e.g., acting, editing, use of color, b: Reactions to films sound (1) May like films which are bad'by 2. Watch-for.detaildemands closer atten- certain criteria tion to detail; encourages more of an ac- (2) May not like films which are good tive consumption of the art , by certain criteria 3. Shift of mental stancediscovery of. 4. Application of a variety of criteria new idea or thenie which was not appar- yield a variety of evaluations for'a sin- ent to the student in a more cursory gle film , examination a. Economy of content and technique vs: B. Analyzeto break down the whole into its social valuemay/may not present a parts. and to show how the parts work to- valid idea while providing good/poor gether use of the' principle of economy w 1. Formexamine the parts "fitting" to- b. Coherence vs. social valuevalid social comment may/may mot l2s made gether Jfi a. Assumption of unity within,the film when parts dotdo not form a unified tj ascertain how "each part functions whole E and why each part is there b. Repetitionaudio-visualtechniques, Contemporary Critics dramatic aspects, and thematic state- A. Qualifications for criticsthe credentials for-a critic fairly standard across`many of rnents . c. Compare beginniq'with endingdif- the arts; several film critics also theatpe ferences and similarities of treatment critics 2. Stylethe use ofspecifictechniques .1. A thorough knowledge of the 'art forM; familiaritywithstyle and structure ithin the film . a. Audio techniquesexplore the patterns of sound use:naturalistic or' 2.Abremlief(fo in film ai artdifferentiate re- porters who write about film only as en- formalistic <- b. Visual techniquesexplore the use of tertainment from critics who conduct in- camera, editing, special effects. depth study of film C. Interpretationto explain the meaiiing of 3. An understanding and appreciation of the film; what, the film is about the other artsrelate certain film refer- 1. Subject--summarizationof what the ences to other, arts such as music, paint- story is; the material which is presented ing, literature; and 'theatre' in the film; not a detailed plot descrip- B. Some Contemporary Critics tion 1. Penelope Gilliatt (New Yorkei)inter- 2. Themean explanation of the general tf. pretation of plot Mlles and symbolic ma- or abstract idea captured in the film terial D. Evaluationa judgment based in reason of 2. Jahn Russell Taylor (London, Times) the worth of the film presented in such a analysis of the film makers work across way as to produce an insight films 1. Basisfor evaluationshould reston 4 13. Dwight MacDonald( Esquire)witty, 35

' a sharp in constructi e suggestions for "the Critic," and. engage in a large group improvements discussion about" the meaning of. the film, 4. Ikenata Adler (N1r YCIrk Tirnes)-.at- *hat film criticsao,and general concep- ,tempt to relate film criticism to social -tions of film criticism. mores of our times C. Students will, dngage in a ten minute dis- 5. Wilfred Sheed (Esquire)dissection of . cussion in groups of three to five to con:. a film into its parts, original us& of lan- struct a list of five or more reasons for filin guage for desdriptive purposes. criticism: These reasons will be shared 6. Stanley Kaufanann (New Republic) with the other class groups im large group ability tO get to the heart of the mean- discu§sion. ing of ,e,ven highly complex works. 7. Andrew Sarriss(Free lance)27highly II. Activi,tiei, Related to How Critics Ma Look at original and outspoken' in approadh to a Filpa film -. . The student will take notes on a mini- 8. Pauline Kael (New Yorker)a con4er- lecture given by the 'teacher on ways in sational. style of writing; anti-film-as- which film critics may loOk ai'filmS. A class art discussion will follow the Mini-lecture in, 9. Rex Read (Chicago Tribune)more in order that any queStions, raised during the the vein of personal tast&judgments lectlite may be answered. 10. Judith Crist (TV-Quide),-given .to par- Students will view a film in class which sonal' taste and social v4ue-type com- 'will ,be used'as the basis for ihe applidation .1nentshligh1y -reada.blet. h of the four critical approaches. The. film 11. Other criticsas those publidhed locally "Citizen Kane,".. is well suited to this 'exer- 'in The Velvet Light Trap k cise. , , Criticism of Student Filin C.Students will work in small groups' to de- A. Development of criteria scribe, analyze interpret, and evaluate the 1. Use ofcriteria used bSTprofeSsional film seen in ss ("Citizen Kane"). Each . critics group will prent ifs description, analysis, 21 Use ofcriteriadescribed:, incritique interpretation, and evaluation to the class... sheets- developed in other .high School The positions expressed by the groups will film courses . , be discussed by the class and San' overall 3.. Ijse of criteria developed through class class critique for the film will belleveloped. discussion _ B. Application Of criteria . D. The teacher yill supply a number of pro- 1. Use of the critique developed by the Aessional reviews from which studellts will. class to facilitate student evaluation of be asked to select one for analysis.In own films. .. groups of three to five, students will pre- 2. Use of critique sheet developed in class pare a Summary of the selected review. ind to facilitate the evartration of other stu- presea-the- summary to the class ,in the dent films form of ariral.report. Each reView Will be 8. Use of the critique sheet developed in Written b ,a differInt professional reViewet aclass to facilitate the evaluation of pro- arid rela e to:the same film. fessionally produced films E., The class will engage in a diselfssion torn- paring-and contrasting the reViewmf the Learning Activities professional critics with the critique de- , veloped by the,class. J. Activities Related to Why Criticize Film Activities Related to .Contemporary c A. Students will view a film, "Chicamauga," and write a two page critique in Which each A.' Students will partiate in a discussire- student includes .ideas which ,that student lating..to. the quali cations -of responsible feels are valid Comments andr criticisms critics. The purpose of this discesSion is to about the film. This Saper will be evalu- provide the student with criteria for judg- ated by the teacher and returned to the ing the validity Of what is read -abdirt film.' student at the end of this unit for rewrit- B. The teacher will supply a list of film critics , ing. The purpose is to allow the student. to from which the students will chOose one. 4 discover- how that student's perception of for a group report: These reports will be criticism has changed because Of his/her presented orally to the other members of work in this unit. the' class.The report will include ..such B. Students will view the short animated film, items as:

4 2 1. where the critic is'employed, B. The classr will invite a film critic from a 2. what the critic's training has been, television station, a newspaper, or film 3. the Critic's general qualifications, journal as a guest speaker to discuss his/ -4. a summarY cif the critic's style, her, personal approach to film criticism. 5.-a summary of the critic's revieiVitof one or two films familiar to-the class; C. Students may chooseto attend theatre 6. a ten mi "lute presentation in Which each showings or see television inovies,and pre- member/of Me group particates. pare -written reviewo.t V. Ac vities 'Related to Student Films D. Students may choose' to compare their own reviews of the films viewed to reviews by A. udents will work individuallyorin professional critics in written papers. ups to examine a series of critique sheets from other high school film courses in preparation for the development df a Instructional Assessment class critique sheet. co I. A number of activities may be taken as Meas- B. The class will develop:through discussion ures of student.behavior. For example: a aritique sheet incorporating .the (four ,

main -principles employed by.professional A. ReviewS of the film viewed at theegin critics, some of thb, ideas foUnd in Other - /ling of thet unit may be collect d and ,sample critique bheetsand any ideas .gen- checked. % erated in the class.. B. Participation in cla-ss discassions *may. be C. Students'Will use the critique sheet devel- evaluated: loped .ip class to review each of their own C. Participation in grOup presentations, may films (the film from Unit I, the group film be evaluated.' from Unit III, and the film from Unit IV which- exemplified a .film form): These D. Performance on a written quiz relating to written critiques will be handed in to the , criteria eMployed by critics may be scored teacher. and graded. D. Students will review at least four other' E. ParticiPation in group formulatidn of s'lli- stUdent made films for the purpose of writ- mary reviews' may be considered as evi- ing critiques of each. dence of having done outside reading. E. Students will exchange and compare writ- F.Participation 'group planning of "critia" re- ten critiques of each other's films for the port may, be considered is evidence' of hav- purpose of more clearly undergtanding 'Mg done outside reading. others' perceptions of ow films. Compari- G.Written reviews ,or studeM's own filrn sons of the students' rctions to various may be' evaluatea. films will be examined n large group dis- 5. cussion. H.Writlicif' reviews of other student's films s may be evaluated. F. The Students will see again the film,viewed at the beginning of the uniti("Chicamau- The rewrite of the "Chicamauga" review ga") and write a critique based specifically may be evaluated. on the concepts discusSed and elaborated within this unit. This paper will be handed J.The written review of the short film viewed in to the teacher. at the end of the unit may be collected and eval . 4 . G. In a large group discussion, Audents- will K. Writ reviews of films outside of the" , compare their _first critiques of this film with the.later reviews hi- order to draw 'class may .be. evaluated. conclusions about what has been discov- L. °A written coMparison of the stént's own ered through the experiences in this unit. review to that of a professionfor a film viewed outside class may bvaluated. T. Other Learning Activities Related tO Film --riticism ' M. Daily class attendance may be considered as an' aspect, of evaluation for_ the unit. A. Students will view.a short film ("Is It Al- ways Right to Be Right!' or "Masque of the II. A Unit fest,may be administered, scored, and Red Death") and wfite a review to be graded to assess the sttident's grasp of the con- turned in tb the teadher: cepts of-the unit.

37 u

4 3 Unit References

Bobker, Lee R., Elements of b11;71. Harcourt, Brace, and World Inc., ChiCago, 190. lkow, Publishers, New York,, Huss, Roy, and Normarl Silverstein, The Film Experience. Harper and v. 1968. Larson,. Rodger, and Ellen Meade, Young Film Make,rs. Camelot Book, Avon Publishing C$, Chicago, Illinois, 1972. Livingston, Don, Film and the Director. Capricorn Books, New Y6rk 1.9 9. Lowndes, Douglas, Film Making in, Schools. Watson-Quntill Publiions, Nv York, 1970. Sheridan, Marion C., The Motion Picture qaid the Teaching of English. Appl on-Centiiry-Crofts, New York, 1965. Smallinan,, Kirk, Creative Film Making. Collier-Macmillan Ltd., London, 190. I In pddition to the above listed references, notes taken in Communication Arts 350, Introduction to' Film, with David Bordw.ell provided much of the material related .to criticism.

e 1 '

14'

1 °

4 jUNIT SIX SHAPE OF FILMS TO CO Introductory Stateinent that their creitivitY and product may be "pre- determined" by the hardware. The limitations Today when one speaks of cinema, one implies they experience in film making ,may be due to a metamorphosis in human perception. Just asi the "pop-in, 'aim, and' press trigger" cameras that the. term "man" is coming to mean man/plant/ are avrailable. In addition', this unit looks at a wide ;7-Lachine, so the definition of cinema must be array of relatively new innovations in technology. expanded to include indeptronics; computer Through .firsthand experiences, the students are science aid atomic light. .able to form their own'criteria for evaluation. Gene YoungblOod The; students need to assess1. the prtIsent condi- Expanded Cintma tion of cinema. The future of cinema may tollow When Edison and his assistant, William. Dicksen. the past,trends of evolving from gimmicky tech- first created their "Kinétoscope," they probably .niques to the skillful and imaginative Use of these dicl.not envision that this invention would "ex., techniques.' The skill and imag.ination to alter the pand" to the capacity described above. However, cinema may cothe from these students. Eclison and Dicksen do have,something in Common with. the theicalds of cinema today. These inven- Instructional Objectives tors al/ concentrate on emPhasizing the, new mechanism, the technology itself. 1. Given a set of survey guidelines, the student will be able 'to complete ai.irvey which iden- Irbnically,, there seems to be a comparison be- tifies the role .film has played in Ihe life of the tWeen the audience of the 1890's he atidience student's family prior to the time the, student of today. In the.early days ofcinittthe viewers enrolled in the film course. were simply dnazed to watch the"motiN" of ,a train pulling into a station. Toda3f, the expeiience 2: Drawing on the student's prior experience, the of viewing a computed generated film or seeing a student will be able to describe at least three holographic image, pleases just for the sake of the limitations encountered through the student new phenomenon. But this new cinema -may be film making-experiences. as infantile in development as _that early film 3. Given the specific limitations of today's cam- -proved to be. - era equipment, the student will be able to de- This unit introduces the student to the fact that sign an "ideal" camera which eliminates three inventions in the motion picture industry have ' ,inadequacies. lollowed cycles. From the first "film" recording a 4, Given information1and demonstrations from m arening, the silent movies came a long way camera suppliers, the student will be able to to achie the artistic films of the '20's. But then describe in his/her own words at least three souncame along, and once again, the industry innovations in film making equipment. was in an Upheaval. Artistic approach was sacri- ficed merely to have thousands of talking, singing, 5.Giver! a filmic description of recent cinema in- and tapping movies: Only later, after audiences novations; the student will be able to recall demanded something more than,sound for the sale any. four 'specific trends film may be taking of Aouivi; did the quality of movieft improve. Using examples from the film. 6.Giltbri a film describing future communication .It is no iccident that new tec niques intro- 'cluced when the industry is in t bled tin,s. The, potentials, the student will be able to discuss technology may be available forlong time before five wayv one specific innovation' may affect coming widely used. A good Ocample is the wide his/her life in the future. screen. This ,capability has existed since the '30's 7.Given materials, the student will be able to but was only..introduced in theaters v,9hen the in7 create a two-three minute multi-screen slide dustry needed to offer an audience something tele- projection with one specific theme. vision couldn't. This unit draWs a parallel to show students that economic conditions in the industry 8. Given a field trip eXperience, the student will- oken govern the use of new techniqu.es. ,. be able to describe five specific.displays seen 4- that relate to film innovation. The technology that relates directly to the student is discussed. The concept of "instant movi,es" 9.After a discussion of "environmental" film, is dealt with so that the students are made aware the student will "be able to design and produce k .1 39

4 5 1 . 6 an environment inrwhich an 'appropriate film artistic use of techniques rather than on the may be viewed. techniqtitself. 10. GiVen an'environmental" film experience, the studentiwill be able to coMpare and con- trait the impact of the "environmental" ex- Content Outline Periênce with that of a classroom experience. I. Film's Increasing AccesSibility 1,1. Drawing on prior expekence, the student will A. Affordable be!able' to. gentate a t of five uses of corn- 1. Cameras cheaper (Super 8) puter generated images. 2. Film stock cheaper C . B. Easy to operate 12. Give% an experimental film, the student will 1. 1Ca1ridge pop-in-no exposure prob- be -able to identify three aspects of that film lems; no threading determine it as an. "experimental" film. ; 2. Zoom (poWer)-smooth, controlled hots 3. -Electric eye-automatically adjus s ,Jor .13. Using notes and other ciass Materials, le stu- light conditions dent will be able to define lindergrouAci cine- C. Some reservations ma in his/her own words. 1. 'Lack ?of effectS, we c'an influence-one speed zoom; lighting effects 14. Given a list of films which areAducedfor 2. May stifle creativity-little Variety af- class, the student will be able to accurately forded label each: film as "experimental" or "non- 3. Preprogrammed "instant" movies :experimenter useing.criteria which have been developed in class discussion. II. Film's Potentials and Expansions A. New use of techniques . 15. 'After viewing an example of cinema verite', 1. Multi-screen-----morethanonescreen the student will be able to identifi.five possi- image ble effects dePendent on the "Unseen" camera, .2. Split-screen,one image split into sev- which might change with the preeence of a eral screens visible camera. 3. Big screen-oversized screen with ex- 16. Given a Video taping experience, the student treme height or width will be able to contrast film and video tape re- 4.' Environmentalfilm-viewerissub- , cordings.in at leastsix` days. 7 merged in special environment / 5. Cinema verite'-camera records realitir; , 17.Having researched current literature, the stu- little editing dent, will be able to liet three new useg of 6. 'Undergroundcinema-filmexhibited video tape noted and described in current and distributed outside of theaters literature; 7. Experinrental films-innovative films 8. Multi-media-many irnages created 18. Given a holography demonstratidn .as an ex- through farious, projections ample, the student' will hypothesize five spe- B. New Technology cific instances of how this technology might 1. Computerfilms-computeigenerated be used in the future. Considerations should images recorded on film .,deal with communicative, artistic, and public 2.. Video tape use-portapak development a service possibilities. 3. Cassette moyies=pop-in cartridges 19. Provided with equipment, the student Will.be 4. Holographic cinema-3-D images cre- able to create a five minute multl-media ex- ated bylaser 'beams perience based on one central theme. Trends of Technology A. Repeated trends-eniphasid technique tO . 20. Giyen correlating dates between the invention 'and popular use of a''film technique, the art . .siudent will be able to discuss the ecanornic J. Early. films, to the height of silent era IMplications which influence thistime inter- 2. Sopnd films' beginnings to the '40's val. 3. Colbr films to Present use 4. Screen innovations 21. Given an understanding of film potentials, the 5. Present innovations student will be able to design a new method of B. Introduction of new technqiues may re.7 usinOhe film medium. The method should be fleet economic Conditions innovative, should be possible given specific C. Techniques may be. gimmick to draw back technological advances, and should focus on audience

4 6 _ 1 Fir ruture Considerations , B. The class will see the film "Communica- A. Progress may lie in imaginativqly using tions Explosion." This film covers the fu- what already exists '. ture projections of communication tech- B.ffétiveness may, be based op how skill- nology. Film is dealt 'With as part of the y new cinematic tools are used overallscopleofcommunication&It C. Emphasis may shift from technique to the should enable students to put the innova- artistic use of the technique tions of film in perspective With other com- munications developments. A focal interest would he that part of the film which Learning Activities discusses holtfgraphy and the potentials of laser beam images. The student will select I. Activities Related to Film's Accessibility - any one of the innovations and discuss the A. Students will indicate through a survey effects this teChnology may hive on this how influential_the Saper 8 revolution has . student's future life in a one-hay page been on their families. This survey will fol. - paper. cus on the frequency and intent of use. C. The class will divide into groups ofSixto After the surveys ar e. complete, they will seven .to design a multi-media experience be briefly discussed and .a compoSite scale thrbtigh the usd of slides. They might draw will be made and displayed on the bulletin on materiald available in their home slide board. collection or from the -school's resources. B. The students are to ilk and discuss/ any 'They must decide on a theme, select the three Ihnitations they felt they hayen- right images, and be able to Support their countered while making filmsfo this decisions in discussion following their pre- coupse. The equipment is to be the ary , sentations. consideration. The students are to c nsider A field trip to tour the Museum of Science what effects they were not able to/ achieve Industry in ghicago will be arranged.- because of the equipment they had at their, Particular attention will be paid to the disposal. aild split-screen exhibitions. They C. Working in groups of two. to four, the stu- also haVe a multi-media circus exhibit dents will design an "ideal" rameri based which makes use of the extremely large4 on their experience. They may merely de- screen. After the tour, the students Will"; scribe their ideal camera or they may pre- discuss the techniques they saw. .;sent-ft,sketch of it. The students will be encouraged to be as creative as they wish E. The rlass as a whole will design a specific environment in which to see a film. They in this project. They do not have to be a realistic in their approach./' will see the film Arst id the classroowpet- ting and a second time in their created-en- ID. Through a Visit to camera suppliers, stu- vironment. The students would be wholly dents will learn about the latest film mak- responsible for creating ..an environment ing equipment and catheras which have which is appropriate for a film. The teach- come into the market. They will then give er would provide resources only. a two mirnite oral preSentation to the rest . of the class regarding/the latest equipment. F. The students will see an example of cinema Brochures may be used to help explain the verite' in thafilm, "The Chair," in which a , product. young lawyer is observed as he struggles to savekhis client from the electric chair. ILActiVities Relating te Film's Potentials and Afterward, the students will disCusi how 'Expansions , cinema verite' equipment altered the effect - A. The class will view the film, "The Shape of ;of the action by suggesting at least five Films to come.71 This film presents ,many changes that might have &cuffed if the of the innovation's seen at Expo '67,, such' camera had lieen visible io the lawyer. assplit-sVeh, "multi-screen,andbig screens. ne /film also looks at many, film G. The students are to read a handbut4a makers who; are exploring new methods speech made by Jonas Mekas entitled 4. such as coinPuter imdges 'and multi-media ,1Where e We Arethe Underground?' A. effects. The fihn will present several new discasion will- follow in which the stu- cohcepts tO the students, so that a discus:- dents will define "underground cinema" sion should'be easily.generated after view- using the , concepts fr.= the speech as a ing. basiS. / , 41

4 7 H. The students will view a film entitled follow which consider the economic im- "Omega" as an example of experimental plicationsof the tiine spans, indicated between cinema. A .discussion dealing -with the invention and the common use of film tech- making of "Omega," its techniques, and its mques. 5oncepts will follow. IV. Activity Relating to the-Future of Film I. The class will work together to create a multi-media experience. A central theme Each student'is to prepare a minipresentation must be selected. Groups will be formed for the class in which a potential use foriihni to work on specific jobs, such as finding in the future is envisioned. Students will -be slides fOr projection, finding pictures for encouraged to focus on,possibilities within the opaque projection, and finding films. A realm of equipment and techniques, which al- sound track should accompany the Yielding ready exist.They may, however, consider experience. The students will present the .any new technology if they wish to create it. experipnce to an audience, who will then Students should describethis new concept andi fillout.. a questionnaire dealing with the discuss its implications. multi-media experience. J. Through a discussion, the students will Instructional Assessment consider two films they have made for this 1. yarious activities may. be taken as a measure class which might be Considered "experi- of student ability. For 'example: mental" or "underground" filrns. They will list specific criteria as to why or why not A. The completion of the survey Inay- ba con- the films might be so classified. sidered. K. The class will N4w the film, "Binary Bit B. The Student's participation in a diacussion Patterns." Afterirthe film, the class Will and expl,anation. of limitation in film mak- discuss their impreskOns of the film and 'Mg equipment may_ be evaluated. generate at least four other uses for com- C. The student'soral presentationofthe puter generated images drawn from their "ideal" camera may be scored and graded. own experience. The student's Teport on new equipment L. ,Copies of Guerilla..Tekvision and "Radical may be counted as extracredit. Software" will be .ipassecl out, with other articles dealing with the video tape revolu- E. The student's recollection of new trends.in ,tion. These resources should show students film as displayed in a film will be evaluated. what is happening currently with video. F. The o-half page paper written by the The students will them list three items of studñt. on the effects of a new technology interest they' found relating to the use of. rnaye graded. video tape. G. The student's involvement in a multi-media M. Thetuents will work in groups to prO- experience will be graded. duc short video tape by pottapak(if porta4is are not available, a regular video H.The student's participation on a field trip equipment may be used). The concept for may be considered as extra credit. the video tape may be one they have previ- -. I. The student's participation andinvolve- ously used for'a film, or they may create a ment in a class project dealing with envi- rw idea. The focus, however will be on ionmental film may be evaluated. +. lie production experience, not the concept. The students will then write a -short sum- J. The one-Page paper written to compare en- .mary of their experience comparing the vironmental effects of a film may be graded. , video medium to the film medium. K. The student's discussion of 'comiiuter and N. Thestudentlwill see a holography devion- experirriental films may be evaluated. 9 _tration/exhibition. After seeing the pi em- L. The student's ability to define terms. ;Aged. ,ontration, che students will discuss anST five within the unit may be evaluated. uses of this innovation. P M. Tne 'student's paper dealing wiith experi- III. Activity Relating to Trends of Technology mental film criteria. may be kcoted iind The Students will be assigned to groups to re- graded.' search.dates of invention and the dates of com- N. The student's analysis of a cinema verite' mon use of film techniques. A discussion will film may be evaluated.

42 0. A two-page paper contrasting the video e student's oral presentation showing with the film experience may be scored new methods of using:film may be scored and graded. and graded. P. The student's participatior and involve: II. A unit test of paper project may be giVen to .a` multi-media experienee may 43e assess the student's, grasp of AC 'subject ma- grad teri1 a . Q: The student!s participation in a project : ; which contrasts .daies showing film tech- III. Student, attendance and participation may be nique Mvention.and use ;nay be eValuated. consideied in determining the final grade.

Unit Referonces

Battock, Gregory; ed?, The New Amiricati Cinema. E. P. Duiton, Inc:, New York,1970.. Coynik, David, Film: Real to Reel. Si, Mary.'s College Press; .1trinana, Minnesota, 1972. Gtaliam, Peter, The ,New,.,Wape. Doubleday and Co., New 'York, 1967. Kirsehner, Alien; and Linda Kirschner, eds., Film: Readings in the Mass Media.Ille.Gdyssey Press, % New York, 1971. Youngblood, Gene, Expanded Cinema. E. P. Dutton, Ind., New York, 1970..-

° 't".

4 9

43 r,