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Literature and Film Curriculum Overview Read. Know. Build. Grow

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Orange Public School District Office of Curriculum and Instruction Department of English Language Arts This course creates themes that students will study through both literature and film. With the inclusion of information text that examines scholarly analysis of the themes, students will experience the rigor necessary to ensure that they are obtaining college and career readiness. Students will engage in an analysis of substantive text as they cite relevant evidence. Students will make effective use of 21st century technology, become proficient in new areas through research and study, read purposefully and listen attentively to gain both general knowledge and discipline-specific expertise. Students will refine and share their knowledge through writing, speaking, listening and the effective use of Standard English. Instruction will incorporate test sophistication strategies in preparation for End of Course and college entrance exams. Literature and Film Curriculum Overview Read. Know. Build. Grow. Literature and Film (Grades 11 & 12) At a Glance ENGLISH LANGUAGE ARTS SKILL MAP MODULE ONE: Students will be introduced MODULE TWO: Students will examine the MODULE THREE: Dystopian literature is MODULE FOUR: Students will analyze the to film study and how filmmakers adapt evolution of the Gothic fiction genre as a usually a commentary on our society now creative process, evaluating the decisions source material. This will include movement that both connects and distances and a speculation about what our society an artist makes when adapting source examination of the creative process, itself from earlier literature, as it reflects the could look like. Students will identify the material into another medium. Furthermore, different approaches to similar topics, darker side of individualism and further elements of dystopian literature, develop students will examine the concepts of the interpretation of written text into the visual questions the human connection to self and provocative questions, and research effects of colonialism and war on the medium and analyzation of director and “good/evil.” historical and social events from their individual and society, as well as the limits author choices. reading/viewing of dystopian stories for use of what society deems to be sanity. in student-led conversations. Students will also analyze propaganda and identify techniques used within propaganda. Required Readings/Viewings: Required Readings/Viewings: Required Readings/Viewings: Required Readings: Fiction Fiction Fiction: Heart of Darkness (novel) by Joseph The Godfather dir. by Francis Ford Coppola Picture of Dorian Gray (novel) by Oscar Wilde The Matrix dir. by The Wachowski Brothers Conrad A Bronx Tale dir. by Robert DeNiro http://www.planetpublish.com/wp- Mad Max: Fury Road dir. by George Miller Apocalypse Now dir. by Francis Ford The Godfather (novel) by Mario Puzo content/uploads/2011/11/The_Picture_of_Doria There Will Come Soft Rains (short story) by Coppola http://www.kkoworld.com/kitablar/Mario_Pu n_Gray_NT.pdf Ray Bradbury The Hurt Locker dir. by Kathryn Bigelow zo-The_Godfather_eng.pdf Dorian Gray dir. by Oliver Parker Children of Men dir. by Alfonso Cuarón Platoon dir. by Oliver Stone A Bronx Tale (play) by Chazz Palmentieri Bram Stoker’s Dracula dir. by F.F. Coppola Nonfiction/Informational: Nonfiction/Informational Nonfiction/Informational Sleepy Hollow dir. by Tim Burton Imagining Dystopia by Bina Shah Hearts of Darkness: A Filmmaker’s The Mafia in Popular Culture (article-The The Legend of Sleepy Hollow (short story) by https://www.dawn.com/news/1345515 Apocalypse dir. by Fax Bahr & George History Channel) Washington Irving In an Era of Fake News, We Must Hickenlooper http://www.history.com/topics/the-mafia-in- http://www.ibiblio.org/ebooks/Irving/Sleepy/Irvin Appreciate Real People by Maureen Irwin PTSD: The Disorder That Goes Far Beyond popular-culture g_Sleepy.pdf http://www.sfexaminer.com/era-bots-fake- the Battlefield (article) by Sebastian Junger The Real Godfather (documentary) dir. by The League of Extraordinary Gentlemen news-must-appreciate-real-people/ http://www.vanityfair.com/news/2015/05/pts Benito Montorio (excerpts) dir. by Stephen Norrington Future Shock by Abraham Riesman d-war-home-sebastian-junger The Gangster Film Genre: A Critical Ed Wood (excerpts) dir. by Tim Burton http://www.vulture.com/2016/12/children-of- Perspective on the American Dream Nonfiction/Informational men-alfonso-cuaron-c-v-r.html (article) by Michael Hoffman An Introduction to Gothic Literature by Adam http://www.cinemablography.org/blog/the- Burgess gangster-film-genre-a-critical-perspective- https://www.thoughtco.com/what-is-gothic- on-the-american-dream literature-739030 Concepts: The Bard of the Bronx (article) by Mary Dracula was the Original Thug by Douglas Concepts: Chaos and Order McCauley Starr Connecting Science Fiction with the action The creative process http://articles.baltimoresun.com/2009-04- http://www.slate.com/articles/health_and_scien genre Perception vs. Reality Literature and Film (Grades 11 & 12) At a Glance ENGLISH LANGUAGE ARTS SKILL MAP 12/entertainment/0904100086_1_chazz- ce/science/2012/10/original_vampires_criminal Society’s fascination with the dystopian War depicted in film palminteri-bronx-tale-actor _anthropologists_inspired_bram_stoker_s_dra theme Historical fiction cula.html Climax and resolution Concepts: Spine Chillers and Suspense: A Timeline of Skills: Central idea Gothic Fiction (reference) by Dr. Catherine Skills: Close reading/Active viewing Literary Elements Spooner Close reading/Active viewing Identifying author/director bias Characterization http://www.bbc.co.uk/timelines/zyp72hv#zptjq6f Examining image juxtaposition Realism vs. Surrealism Narrative Technique Analyzing Sound and Music Director’s choices and purpose Flashback/Foreshadowing Concepts: Dialogue Author’s purpose Evolution of the Gothic Genre Skills: Literature as a reflection of society Close reading/Active viewing Psychological vs. visceral fear Deducing central idea/theme Analyzing setting/plot Evaluating character motives Skills: Close reading/Active viewing Identifying literary elements Critiquing literary works Interpreting informational texts Literature and Film (Grades 11 & 12) At a Glance ENGLISH LANGUAGE ARTS SKILL MAP Writing Focus: Writing Focus: Writing Focus: Writing Focus: Narrative Argumentative Argumentative Literary Analysis Literary Analysis Explanatory Narrative Explanatory Concepts: Concepts: Concepts: Concepts: Writing with purpose Analyzing and synthesizing Artist’s choices Viewer's perspective and reaction Coherence Evaluating information Character development Adaptation vs. interpretation Making connections Supporting claims Fate vs. Free Will Using prior knowledge Skills: Skills: Skills: Researching and extracting information Prewriting Skills: Story creation Citing sources Drafting Identifying and extracting information Creative writing Comparing and contrasting Revising Using evidence to support claims Research and reflection Editing Citing sources Syntax and word choice Grammar/Skill Focus: Grammar/Skill Focus: Grammar/Skill Focus: Grammar/Skill Focus: Tier I and II Vocabulary Tier I and Tier II Vocabulary Tier I and Tier II Vocabulary Tier I, Tier II, and Tier III(military)vocabulary Dialect Using context clues Film specific vocabulary Voice over narration Figurative Language Making inferences Director’s choice on visuals over dialogue Using context clues (Mad Max) Making inferences Using context clues Making inferences Focus NJSLS: Focus NJSLS: Focus NJSLS: Focus NJSLS: NJSLSA.R1; NJSLSA.R2.;NJSLSA.R3.; NJSLSA.R1; NJSLSA.R3; NJSLSA.R7; NJSLSA.R1; NJSLSA.R3; NJSLSA.R7; NJSLSA.R1; NJSLSA.R3; NJSLSA.R7; NJSLSA.R4.; NJSLSA.R7; RL.11-12.5; NJSLSA.R10; RL.11-12.1; RL.11-12.9; RI.11- NJSLSA.R10; RL.11-12.1; RL.11-12.3; NJSLSA.R10; RL.11-12.1; RL.11-12.3; RL.11-12.7; RI.11-12.10; NJSLSA.W1.; 12.1; RI.11-12.5; RI.11-12.7; RI.11-12.10; RI.11-12.1; RI.11-12.5; RI.11-12.7; RI.11- RL.11-12.5; RI.11-12.1; RI.11-12.5; RI.11- NJSLSA.W3.; NJSLSA.W10; W.11-12.1.; NJSLSA.W1; NJSLSA.W5;NJSLSA.W7; 12.10; NJSLSA.W1; 12.7; RI.11-12.10; NJSLSA.W1; W.11-12.3; W.11-12.4. W.11-12.5.; W.11- NJSLSA.W10; W.11-12.1; NJSLSA.SL1; NJSLSA.W5;NJSLSA.W7; NJSLSA.W10; NJSLSA.W5; NJSLSA.W7; NJSLSA.W9; 12.6.; NJSLSA.SL1; NJSLSA.SL6.; L.11- SL.11-12.1; SL.11-12.4;NJSLSA.L4; L.11-12.1; W.11-12.1; NJSLSA.SL1; SL.11-12.1; NJSLSA.W10; W.11-12.1; NJSLSA.SL1; 12.1; L.11-12.2.; L.11-12.5.; L.11-12.6; CRP7; CRP9; Visual and Performing Arts SL.11-12.4;NJSLSA.L4; L.11-12.1; CRP7; SL.11-12.1; SL.11-12.4;NJSLSA.L4; L.11- CRP7; CRP9; Visual and Performing Arts Standards 1.1, 1.2, and 1.4 CRP9; Visual and Performing Arts 12.1; CRP7; CRP9; Visual and Performing Literature and Film (Grades 11 & 12) At a Glance ENGLISH LANGUAGE ARTS SKILL MAP Standards 1.1, 1.2, and 1.4 Standards 1.1, 1.2, and 1.4 Arts Standards 1.1, 1.2, and 1.4 Teachers’ Notes: Teachers’ Notes: Teachers’ Notes: Teachers’ Notes: ● Be sure to view each film in its ● Select the amount of excerpts based on ● This module coincides with the ● Review the material covered up to entirety and note the stopping points pacing. It is important for the class to PARCC assessments and other this point to check for understanding in the Central Idea Trackers (for all get the “flavor” of Dorian Gray through testing. Be sure to adjust your of concepts and objectives. modules) novel and film excerpts, but it is not pacing and lesson plans to reflect ● This is the most challenging module ● Also, read the excerpts from the practical to cover each in its entirety in the testing schedule, as it may not since the material can be difficult, so novel prior to teaching order to get to the other works. be possible to cover all of the texts. you should increase your checks for ● You can choose additional excerpts ● Students who are interested in reading The Matrix and Mad Max:Fury Road understanding during the reading if the class is struggling with the the complete novel can do so during are the essential texts that need to and viewing portions.
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    El Mitema De La Venganza En El Cine: El Mito De La Orestía

    Facultad de Filosofía y Letras MÁSTER EN CULTURA Y PENSAMIENTO EUROPEO Y SU PROYECCIÓN TRABAJO DE FIN DE MÁSTER El mitema de la venganza en el cine: el mito de La Orestía The mytheme of revenge in films: the myth of The Oresteia Ana María López Saludes León, junio 2013 Facultad de Filosofía y Letras MÁSTER EN CULTURA Y PENSAMIENTO EUROPEO Y SU PROYECCIÓN TRABAJO DE FIN DE MÁSTER El mitema de la venganza en el cine: el mito de La Orestía The mytheme of revenge in films: the myth of The Oresteia - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - V.B Dr. Jesús-Mª Nieto Ibáñez Ana María López Saludes León, junio 2013 2 AGRADECIMIENTOS A Amor López Jimeno y a Alejandro Valverde García, porque sin conocerme de nada, me han facilitado información sobre artículos, libros y enlaces de interés para el trabajo. Alejandro además ha sido una pieza clave en la visión global del proyecto, y su dedicación y esfuerzo enormes. A mis compañeras de máster Andrea Patricia Durán Cingerli y Esperanza de los Reyes Aguilar por escucharme, aconsejarme y brindarme también su ayuda. Por último a Erika Loreti, traductora en alguna de las películas y a las demás personas que me han escuchado y apoyado, sobre todo a mi madre. 3 ÍNDICE CAPÍTULO I.- INTRODUCCIÓN .............................................................................. 6 1.1.- Objeto de estudio .................................................................................................. 9 1.2.- Metodología y referentes ...................................................................................
  • The Influence Of

    The Influence Of

    Gulino-Waller 1 Cover credit: I’d say I didn’t design that cover except I’d be lying. The Influence of By Sarahfina Rose Gulino-Waller 2 The Influence of Ingmar Bergman ‘’If you were alive in the ’50s and the ’60s and of a certain age, a teenager on your way to becoming an adult, and you wanted to make movies, I don’t see how you couldn’t be influenced by Bergman’’—Martin Scorsese (Mercury). Ingmar Bergman and the shark from JAWS, Hollywood 1975. The list of filmmakers inspired by Swedish director Ingmar Bergman is seemingly endless. His fanclub includes, but is not limited to, influential contemporary artists such as Tomas Alfredson, Woody Allen, Lukas Moodyson, Milos Forman, Stanley Kubrick, Michael Winterbottom, Mike Hodges, Thomas Vinterberg, Alexander Payne, Terence Davies, Sally Potter, Olivier Assayas, David Lynch, Wes Craven, and many others. That’s just the short list. Bergman, in turn, has drawn inspiration from filmmakers he’s admired, such as Akira Kurosawa, Andrei Tarkovsky, and the filmmakers of silent cinema, just to name a few. Let us examine some films by directors who have been influenced by Bergman time and again. Gulino-Waller 3 Bergman and Spain: Amantes (English: Lovers: A True Story; 1991) has been compared to Bergman’s take on sexuality and religion, and director Vicente Aranda has been influenced by him (‘’Names of the Spanish culture reminiscent of Swedish filmmaker Ingmar Bergman’’). I’ve seen ongoing discussions about it and even thought whilst watching the film, ‘’This feels kinda Bergman- esque,’’ particularly Persona (1966) and The Silence (1963), both of which caused controversy in Sweden and were heavily censored as a result.