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Film Studies II: A Curriculum Area Project

Written by Eric ChiarulliAugust 2009Grades 10-12

2009-2010 School YearEast Meadow School District

English Department

Table of Contents

Abstract 3Rationale 4

Part I: Introduction to “American Cinema” and the Hollywood Style

UBD: Introduction to “American Cinema” 6Critical Viewer’s Guide: “American Cinema” 8Viewer’s Guide (Instructor’s Version): “American Cinema” 10

Part II: Units on Complete Films

UBD: Twelve Monkeys 14Critical Viewer’s Guide: Twelve Monkeys 16Final Assignment: Twelve Monkeys 17UBD: Amadeus 18Critical Viewer’s Guide: – Amadeus 20Final Assignment: Amadeus 21UBD: Night of the Living Dead 22Critical Viewer’s Guide: Night of the Living Dead 24Final Assignment: Night of the Living Dead 25UBD: The Shining 26Critical Viewer’s Guide: The Shining 28Handout: Influences on The Shining 29UBD: Good Will Hunting 30Critical Viewer’s Guide: Good Will Hunting 32UBD: Eternal Sunshine of the Spotless Mind 34Critical Viewer’s Guide: Eternal Sunshine of the Spotless Mind 36UBD: Pride and Prejudice 37Pre-Viewing Activity: Pride and Prejudice 39Critical Viewing Guide (Including Final Assignment): Pride and Prejudice 40

Works Cited 43

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Film Studies IIAbstract:Film Studies is a course for high school students in grades 10 through 12. The course builds on both analytical and writing skills developed in an English class by applying those skills to a different artistic medium: film. Pedagogically, the course meets all of the New York state standards for English Language Arts: students will read, write, listen and speak for information and understanding, literary response and expression, critical analysis and evaluation, and social interaction. Additionally, the course also meets two of the four standards for the Arts: students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of human endeavor and thought, and students will develop an understanding of the personal and cultural forces that shape artistic communication and how the arts in turn shape the diverse cultures of past and present society.This course focuses on such technical aspects of filmmaking as cinematography, sound, editing, mise en scéne, acting, and directing, and the way filmmakers use such basic film elements to construct narratives, characters, and themes, or to make philosophical or artistic statements through the film medium. The curriculum is based on the daily viewing of either film clips used to illustrate specific film techniques and the way they are used or complete films that will allow students to not only analyze film techniques, but also the way those techniques contribute to the meaning of the film as a whole. Daily, there are discussions in which students analyze and openly critique what they have viewed. These discussions are a forum for students to express themselves analytically and to share their opinions regarding various works of art. It is essential for the instructor of this course to allow student discussions to develop organically, not to impose limitations on them based on a “bell-to-bell” philosophy of lesson planning or implementation of lessons. The course requires film clip viewing, and it requires that students have enough discussion time following viewing sessions to share their thoughts, feelings, interpretations, and criticisms concerning what they view. If they do not, the course would simply afford them the opportunity to view films casually, precisely what this course is designed to teach them not to do. Each of the daily lessons calls for some writing. The writing assignments vary from creating lists of visual and aural details of a film to extensive written critiques of either an entire film or film clip. Each writing assignment in this curriculum is designed either to guide the students’ learning process or to give them the opportunity to offer a final assessment of a film. The critique is evidence of the highest level of understanding of a given clip or complete film, for it is the result of a student’s ability to interpret, judge, conclude, and support with evidence his/her assessment of that clip or complete film.

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Rationale: Popular American culture is dominated by moving picture images, but despite how common these images are in our culture, most viewers treat them very casually and thus undermine the credibility of film as an art form. The same is true of the casual reader’s approach to literature and its implicit undermining of it as an art form; literature students often feel they either can or should be able to fully comprehend even the most complex novels simply because they know how to read, and English teachers combat this mentality daily as they cultivate their students’ analytical skills and the tools of appreciation as a means of helping them fully understand the art of literature as something beyond mere stories told through the written word. The Film Studies course treats films the way a literature course treats literature, as works of high art that require a set of analytical skills in order to be fully appreciated. In Film Studies, students are taught to view films critically, not casually. Students in this course will study the growth and emergence of film as an art form through a close examination of film techniques, genres, directors, actors, and by exploring the relationship between film and literature by looking closely at issues of character, plot, narrative, and thematic development in both arts. Daily instruction in this class is designed to develop the students’ analytical skills, which, of course, apply to far more than just the viewing of films. This Curriculum Area Project (CAP), Film Studies II, is a continuation of the units explored in the second part of Film Studies I, the most demanding of which was on Hitchcock’s Psycho. Each unit in Film Studies II is based on a challenging film. This CAP is composed of whole units that offer high school students the unique opportunity to see something that they are very familiar with, a main source of entertainment in their culture, from a new, mature perspective. In their role as film critics in this class, students will share their critical insights and observations during class discussions and through written film reviews and analyses, learning how to truly comprehend an art form that, perhaps, they viewed as mere entertainment before. This CAP features units that cover a number of genres and includes assignments designed to engage students in the process of understanding films on a deeper than surface level. The CAP culminates in a unit on Pride and Prejudice, a unit that includes a lengthy plot-based viewer’s guide as well as other engaging assignments, but also features numerous other film units with a range of assignments with one common requirement: critical thinking about film. As much as this CAP is about film and how to understand it as an artistic medium, it is, perhaps most importantly, designed to foster the development of critical thinking skills in students through the analysis of something that they are already very comfortable with; it may prove to be the foundation of such thinking in other major areas of study as well.

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Part I Introduction to American Cinema

and the “Hollywood Style”

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Title: An Introduction to American Cinema.

Stage 1: Desired ResultsUnderstandings

Students will understand the early history of American films. Students will understand how early filmmaking techniques developed into modern ones. Students will understand basic filmmaking techniques and elements. Students will understand basic film narrative elements such as plot, character, theme, mood, and atmosphere.

Essential Questions Knowledge & Skill How did early American filmmakers

use a variety of techniques to develop narrative, plot, and character?

Why is the cinema important to American audiences?

What is the cultural importance of going to the movies?

What is the role of a film director? What is the studio system? Why are films such as Casablanca and

Citizen Kane considered to be so important?

What is the director’s role, and how does influence a film as a whole?

Explain the difference between directors Hawks and Welles.

What makes Hitchcock such a unique director?

How does a “star” come to be, and how does this compare with what a “star” is today?

Explain a fundamental differences between American and foreign film.

Stage 2: Assessment EvidenceStudents will view a documentary entitled “American Cinema: The Hollywood Style”. The teacher will prepare an accompanying handout that will guide the students through the documentary by noting its important elements including important statements made by major figures. Following the viewing of the documentary, students will get into groups so as to discuss their answers to the questions on the handout. Then, the teacher will lead the class in a discussion of the documentary and will review the handout as well.

Performance Task Summary Rubric Titles Students are given specific viewing

instructions before the documentary begins. Students will complete the

accompanying handout for “American Cinema: The Hollywood Style”.

Students will discuss each film clip as a class, offering critical insights and opinions based on a technical film viewing.

They will share their responses with each other in both cooperative groups and as an entire class.

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Self-Assessments Other Evidence, Summarized

When organized in cooperative learning groups, students will share their critical

observations with classmates, offering them the opportunity to not only self-assess, but also peer-assess based on the analytical skills the

lesson teaches them to develop.

Stage 3: Learning Activities Step One: The class will be introduced to the documentary and will be instructed to

complete the accompanying handout. Step Two: The class will view the documentary and will answer questions on the

handout. Students will be encouraged to write down further observations in their notebooks to share during our discussion time.

Step Three: Following the viewing, students will be organized into cooperative learning groups; they will share their responses to questions and critical observations with each other.

Step Four: A teacher-led discussion of critical observations and insights will follow.

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Film StudiesAmerican Cinema: “The Hollywood Style” Viewer’s Guide

1. What is it that “Americans like more than anything else”?

2. According to Sydney Pollack, what is one of the things that made film going such a “wonderful experience”?

3. Martin Scorsese says that he is an American brought up on American films, and he defines such films as being primarily about story. This film tradition is also called the narrative tradition. What are the basic elements of this film tradition?

4. The “old Hollywood” is often compared to a factory. What are some of the factory-like qualities of the “old Hollywood”?

5. What is the director’s role in the studio system?

6. What insights does Robert Towne give regarding the way early script writing was

done?

7. Casablanca (1942) is regarded as the consummate film of the studio era. Why?

8. What is the aim of the classic Hollywood style, the so-called “invisible style”?

9. Martin Scorsese has directed some of the greatest contemporary gangster films. What are his insights concerning Howard Hawks’ Scarface?

10. How does Orson Welles’ style contrast with Howard Hawks’?

11. What film epitomizes Welles’ style and epitomizes the “director as star” aspect of Welles’ filmmaking? How old was Welles when he made the film?

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12. What does Scorsese is the constant battle of being a director?

13. What is William Wyler’s style? What technical development is he responsible for along with Gregg Toland, cinematographer for Citizen Kane?

14. What does Hitchcock consider “the essential part of [his] job”?

15. According to Scorsese, what makes Hitchcock’s style different from his predecessors?

16. In a Hitchcock film, how is “point of view” used?

17. How does Scorsese employ “point of view” camerawork in both Taxi Driver and Goodfellas?

18. Cinematographer Allen Daviau says the best example of a “complex expression of point of view” is in George Stevens’ A Place in the Sun (1951). Explain the film sequence and the effectiveness achieved because of the point of view.

19. What are the ingredients necessary for effective drama?

20. What does Billy Wilder, Academy Award winning writer, say about exaggeration?

21. Why can’t realistic dialogue be brought into films?

22. How were American filmmakers influenced by French and Italian filmmakers?

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23. Why does Chinatown perfectly represent the way American films were influenced by foreign filmmakers?

Film Studies American Cinema: “The Hollywood Style” Viewer’s Guide

1. What is it that “Americans like more than anything else”?Stories and characters with whom they could identify.

2. According to Sydney Pollack, what is one of the things that made film going such a “wonderful experience”?

It was a kind of dazzling journey to a place and a life that bore little resemblance to your own. You measured the film’s success by the distance between it and your world. So, Pollack is saying that moviegoers in this period were not searching for realism; they were searching for an escape.

3. Martin Scorsese says that he is an American brought up on American films, and he defines such films as being primarily about story. This film tradition is also called the narrative tradition. What are the basic elements of this film tradition?

Everything is at the surface of the narrative, the story.How the camera moves, actor’s expressions, etc. designed w/ story primarily in mind.

4. The “old Hollywood” is often compared to a factory. What are some of the factory-like qualities of the “old Hollywood”?

Studios produced approx. 100 films a year.13 min. +

5. What is the director’s role in the studio system?Directors designed entire movie. Directed each craft’s contribution to the telling of the story (costume design, camera work, scripting, editing, acting, lighting) to achieve the most emotionally compelling result. 6. What insights does Robert Towne give regarding the way early script writing

was done? Studios had writers set up in bungalows and a film would be written by a number of employed writers, each writing scenes that catered to their own strengths.

7. Casablanca (1942) is regarded as the consummate film of the studio era. Why?

At least 6 writers worked on the script. Cast included 34 nationalities. Effortless, almost invisible style.

8. What is the aim of the classic Hollywood style, the so-called “invisible style”?

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Only story and actors were really important – no camerawork, cutting (editing) or other elements of filmmaking should be “visible” to the audience.

The style becomes “illusionistic” because it invites the audience into the film’s world.

9. Martin Scorsese has directed some of the greatest contemporary gangster films. What are his insights concerning Howard Hawks’ Scarface?

There are symbols “X” for when someone is murdered, music, lighting, black and white contrast that make the film.

10. How does Orson Welles’ style contrast with Howard Hawks’? Hawks’ style is economical, classic “invisible”.

Welles” pushes the Hollywood style to its limits – draws attention to itself.Welles begins what we can call the “director as star” kind of filmmaking. 11. What film epitomizes Welles’ style and epitomizes the “director as star”

aspect of Welles’ filmmaking? How old was Welles when he made the film?

Citizen Kane (1941) directed when Welles was 25, epitomizes the director

12. What does Scorsese is the constant battle of being a director?You never want to draw attention to your directing, but you also don’t want to be invisible. You have to find a middle ground. (24:30 )

13. What is William Wyler’s style? What technical development is he responsible for along with Gregg Toland, cinematographer for Citizen Kane?

Deep focus lens. Everyone in focus in wide shots.

14. What does Hitchcock consider “the essential part of [his] job”?To assemble images, pieces of film, to create fright.

15. According to Scorsese, what makes Hitchcock’s style different from his predecessors?

Hitchcock was always aware of the audience and directed his films to influence the audience. Previous directors weren’t so much concerned with audience.

16. In a Hitchcock film, how is “point of view” used? You see everything through the eyes of the character. You are drawn into the character’s world, the way they see it.

17. How does Scorsese employ “point of view” camerawork in both Taxi Driver and Goodfellas?

Everything is seen through Travis Bickle’s eyes in Taxi Driver – the character’s paranoia is filtered through the point of view and influences the audience.

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In Goodfellas, as the character enters the bar, we are introduced to other characters through the main character’s eyes – each character introduced looks slightly to the left of the camera, not at us (the viewer) but at the character we see through.

18. Cinematographer Allen Daviau says the best example of a “complex expression of point of view” is in George Stevens’ A Place in the Sun (1951). Explain the film sequence and the effectiveness achieved because of the point of view.

You see everything through George’s point of view – he is an outsider, the other characters and their snobbery is established b/c of the way they react to him.

19. What are the ingredients necessary for effective drama?

Simple emotional ideas strongly and clearly presented – usually the story type can be reduced to a simple sentence such as “get back home”.

“Coat the pill with candy” – Robert Towne – draw the audience along so they’re asking what will happen next.

Conflicts are necessary – Pollack says films are sometimes successful when they are character driven – characters can sometimes substitute for story.

20. What does Billy Wilder, Academy Award winning writer, say about exaggeration?

Escalating characters and situations are crucial to dramas – even comedy.

21. Why can’t realistic dialogue be brought into films? It would be boring. 22. How were American filmmakers influenced by French and Italian

filmmakers?Editing styles, visual images, etc. from

23. Why does Chinatown perfectly represent the way American films were influenced by foreign filmmakers?

Directed by Roman Polanski, the film takes the American filmmaking importance on the story and fuses it with a European filmmaking sensibility.

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Part II Units on Complete Films

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Title: Twelve Monkeys & Science FictionStage 1: Desired Results

Understandings Students will understand how to analyze and interpret the main themes of the film, main

elements of plot, and specific filmmaking techniques and elements that help develop them.

Essential Questions Knowledge & Skill What are the basic elements of science

fiction? How does Terry Gilliam use film

techniques to develop narrative, plot, major themes, and character?

What are the film’s main themes? What are the films main motifs? What role does dreams have in the

film? What “happens” at the end, and what

does it mean to the film as a whole?

Critical viewing: how many characters appear in multiple periods of time without aging? Who are they?

Why does Gilliam choose to end the film so ambiguously?

Symbolically, what is the purpose of the 12 Monkeys insignia? How does this help develop the film’s main themes?

Stage 2: Assessment EvidenceStudents will watch 30+ minute clips from Twelve Monkeys on a daily basis. For each day’s viewing, students are required to take notes in their film viewer’s notebooks and complete questions on the viewer’s guide worksheet. Students are assessed in three ways: the quality of their notes, the quality of their critical comments during class discussions, and their written analyses of the film.

Performance Task Summary Students are given specific viewing

instructions preceding each day’s viewing so as to establish or reestablish context.

Students will write notes during the viewing of each clip.


Students will complete a handout designed to guide their viewing. They will share their responses with each other in both cooperative groups and as an entire class.

Students will write analyses, varying in length, following each film clip.

Self-Assessments Other Evidence, SummarizedWhen organized in cooperative learning groups, students will share their critical

observations with classmates, offering them the Written film analyses, film viewer’s notebooks

in which students record observations and

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opportunity to not only self-assess, but also peer-assess based on the analytical skills the


critiques, and daily participation in class discussions.

Stage 3: Learning Activities Step One: Prior to the viewing of any new material throughout this unit, the class will

begin with a discussion on the previous day’s viewing. Following this discussion, students will be briefed on the nature of the day’s viewing. They will be directed to take out and use their viewer’s guides (handout) and to take out their notebooks. Before beginning the film clip, students will be directed to watch critically for specific film elements and techniques that will be further discussed following the clip.

Step Two: The class will critically view their 30+ minute film clip. They will write their observations in their notebooks.

Step Three (optional): Following the screening, students will be organized into cooperative learning groups in which they will complete their critical observations with each other while completing their viewer’s guide (handout).

Step Four: A discussion of critical observations and insights will follow. If cooperative groups were formed, the students will choose a member from their respective groups to be the speaker during the class discussion.

Step Five: For homework, the students will finish whatever class work they have yet to do. An essential part of this class is the discussion component to each lesson. This component is not to be sacrificed for the sake of giving students some more time to finish answering questions in class that they can surely answer for homework.

Step Six: At the conclusion of this unit, students will complete a detailed written critique of Twelve Monkeys in which they focus on one of the film’s major themes and the interesting relationships between the three main characters.

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Twelve Monkeys Film Studies

1) On the DVD release of Twelve Monkeys, the following description is found: “Between the past and the future, sanity and madness, dreams and reality, lies the mystery of the 12 Monkeys."

Throughout the film, what exactly is the role of…

Dreams and reality?

Sanity and Madness?

Past and future?

2) What role does prophecy (or do prophets) have in the film? Where do we see them?

3) What specifically is the role of the 12 Monkeys in the film?

4) Terry Gilliam has a very distinct style as a film director. How would you describe this style, and in what scenes do you think his style is most evident?

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5) The ending of this film is ambiguous. What is Cole’s initial plan/objective? Is he successful? Defend your position with specific references to key supporting scenes.

Twelve Monkeys Film Studies

Directions: Write a film analysis of Twelve Monkeys in which you focus on a dominant theme of your choice, how Gilliam uses basic film elements to establish a mood or atmosphere, and/or develop a character. Also, consider the importance of the relationships James Cole has with Kathryn Railly and with Jeffrey Goines.

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Title: Amadeus & the “bio-pic”/Period PieceStage 1: Desired Results

Understandings Students will understand how to analyze and interpret the main themes of the film, the main elements of plot, and specific filmmaking techniques and elements that help develop them. Students will understand the importance of the film’s setting/costumes to establishing and

developing its major tone. Students will understand the importance of music in the film in terms of developing a

mood, atmosphere, and, most importantly, character.

Essential Questions Knowledge & Skill What is a “bio-pic”? What is a period piece or costume

drama? What is the role of music in this film? Who gives the better performance:

Hulce or Abraham?

How important to the film is it that the “bio-pic” be a credible interpretation of the main figure’s life?

To what degree is a costume drama simply a drama in which its characters are in costume? Why are costumes an essential part of this kind of film (besides the obvious).

Why is music so important to the film?Stage 2: Assessment Evidence

Students will watch 30+ minute clips from Amadeus on a daily basis. For each day’s viewing, students are required to take notes in their film viewer’s notebooks and complete questions on the viewer’s guide worksheet. Students will be assessed in three ways: the quality of their notes, the quality of their critical comments during class discussions, and their written analyses of film clips.


instructions preceding each day’s viewing so as to establish or reestablish context.

Students will write notes during their viewings.


Students will complete a handout designed to guide their viewing. This particular handout will focus students on Salieri and Mozart. They will share their responses with each other in both cooperative groups and as an entire class.

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Students will write analyses, varying in length, following each film clip.




Written film analyses, film viewer’s notebooks in which students record observations and critiques, and daily participation in class

discussions.


begin with a discussion on the previous day’s viewing. Following this discussion, students will be briefed on the nature of the day’s viewing. They will be directed to take out and use their viewer’s guides (handout) and to take out their notebooks. Before beginning the film clip, students will be directed to watch critically for specific film elements and techniques that will be further discussed following the clip.

Step Two: The class will critically view their 30+ minute film clip. They will write their observations in their notebooks.




Step Six: At the conclusion of this unit, students will complete a written critique of Amadeus’ major acting performances, those of Hulce and Abraham.

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Film StudiesAmadeus

Directions: Use this series of questions to guide your viewing and understanding of these two essential figures in Amadeus. Then, when the film is over, hand in your responses.

On Salieri:

How do the film’s scenes between Salieri and the priest function in the film?

Salieri is a deeply conflicted man. What is the essence of his conflicts? Do not just limit your response to the conflict he has with Mozart or the conflicted feelings he has for Mozart.

What do the final scenes do for the relationship between Salieri and Mozart?

What does the Requiem scene do for Salieri’s character?

On Mozart:

How is Mozart depicted throughout the film?

What is the nature of his genius?

What does the Requiem scene do for Mozart’s character?

What is the role of his music in the film? Do not consider its role in the plot, or the way it illustrates the development of Mozart’s art, but how it is used by Forman to enhance scenes or to develop a particular mood in the film.

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Name: Film Studies

Amadeus Final Assignment

Both Tom Hulce and F. Murray Abraham were nominated for the Academy Award for Best Actor, a rare honor for one film. Abraham won the award. Who would you give it to and why? You must support your choice by referring to specific scenes that support your choice over the other performer; that is, you must carefully compare these two performances and argue why one is better than the other. Good luck!

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Title: Night of the Living Dead & the Roots of the Modern Horror FilmStage 1: Desired Results

Understandings Students will understand how to analyze and interpret the main themes of the film, the main

elements of plot, and specific filmmaking techniques and elements that help develop them. Students will understand how George Romero cultivates a suspenseful tone and atmosphere throughout the film through effective camerawork, lighting, and music. Students will understand the importance of the film’s symbolic/metaphorical elements in

establishing and developing its major themes and motifs. Students will understand how Romero’s direction influences his audience’s emotional response to the film. Students will understand the importance of directorial choices such as film stock and lenses in

establishing the film’s overall tone and atmosphere.

Essential Questions Knowledge & Skill What is a zombie? How is the zombie

used as a metaphor? What film techniques does Romero

employ to develop narrative, plot, and character?

What are the major motifs in Night of the Living Dead?

How can Night of the Living Dead be considered the forerunner to the modern day horror film?

How are characters developed in conjunction with major themes and the overall tone of the film?

Why does Romero choose an African American hero for this film? Why does race matter? How does the element of race and racial tension influence your understanding of the film and its overall message?

Stage 2: Assessment EvidenceStudents will watch 30+ minute clips from Night of the Living Dead on a daily basis. For each day’s viewing, students are required to take notes in their film viewer’s notebooks and complete questions on the viewer’s guide worksheet. Students will be assessed in three ways: the quality of their notes, the quality of their critical comments during class discussions, and their written analyses of film clips. At the conclusion of this film, students will have to complete an assignment that asks them to focus on the acting performances in this film and the film’s metaphorical dimension.


instructions preceding each day of viewing. Students will write notes during their

daily viewing. Students will discuss each film clip as a

class, offering insights and opinions based on a critical film viewing.

Students will complete a

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comprehensive viewer’s guide. They will share their responses with each other in both cooperative groups and as an entire class.





discussions.


begin with a discussion on the previous day’s viewing. Following this discussion, students will be briefed on the nature of the day’s viewing. Daily, they will be directed to take out and use their viewer’s guides (handout) and to take out their notebooks. Before beginning the film clip, students will be directed to watch critically for specific film elements and techniques that will be further discussed following the clip.

Step Two: The class will critically view a 25+ minute film clip. They will write their observations in their notebooks.




Step Six: At the conclusion of this unit, students will complete a detailed written critique of the acting performances and overall metaphorical element in Night of the Living Dead.

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Night of the Living DeadFilm Studies

1) Examine the film as a commentary on civil rights in the United States at the time of its release, 1968. How can it be viewed as such?

2) How much of the film depends on racial tension?

3) How can the film be viewed as an indictment of consumer culture? What do the zombies do exactly?

4) View the film as a metaphor for human nature. What exactly harms the human

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beings in this film? Who or what harms Ben?

5) It is accepted among fans of this film and among those who study film as a serious art form that “Night of the Living Dead” is responsible for what we know as the modern horror film. What specifically is frightening about it? What scenes made you feel something other than comfortable?

Night of the Living DeadFinal Assignment Film Studies

Assignment: Night of the Living Dead is a low-budget American horror film released in 1968. The film has what many consider to be poor acting performances by essentially amateur actors. However, the film has become and remains a “classic” of sorts, especially in its genre, horror/science fiction. Your assignment for this film is to consider two things: acting and the extended metaphor of zombies in the film.

1) Given that quality acting is an integral part of good filmmaking, why is it that these performances don’t seem to matter so much to the film’s overall quality? What role do these characters have in the film, and does it matter if their actor’s/actresses’ performances are great?

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2) Consider the zombies as a metaphor. Perhaps they are a metaphor for an element of our American culture. Perhaps they are a metaphor for American society. Explore a metaphorical significance to both the zombies and to the role of media in the film (TV, radio, etc.).

Title: The Shining & the Supernatural Thriller/Horror FilmStage 1: Desired Results

Understandings Students will understand how to analyze and interpret the main themes of the film, the main

elements of plot, and specific filmmaking techniques and elements that help develop them. Students will understand how Stanley Kubrick cultivates a suspenseful tone and atmosphere throughout the film through effective camerawork, lighting, and music. Students will understand the importance of the film’s symbolic/metaphorical elements in

establishing and developing its major themes and motifs. Students will understand how Kubrick’s direction influences his audience’s emotional response to the film. Students will understand the innovative use of the steadicam as a means of developing

tone, atmosphere, and entirely unique shots.

Essential Questions Knowledge & Skill What is the relationship between the

past and present in The Shining? What film techniques does Kubrick

How are visual elements such as lighting used to create a sense of claustrophobia in the film viewer?

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employ to develop narrative, plot, and character?

What are the major visual motifs in The Shining?

What is “shining,” and how is it used to develop character and themes in the film?

How is Jack Nicholson’s performance suited to the role?

Why does Kubrick use very long steadicam shots from the floor?

What is a doppelganger, and how does it figure into interpreting the film’s plot and major characters?

How does Kubrick cultivate suspense and a general feeling of uneasiness in the film?

Stage 2: Assessment EvidenceStudents will watch 30+ minute clips from The Shining on a daily basis. For each day’s viewing, students are required to take notes in their film viewer’s notebooks. Students will be assessed in three ways: the quality of their notes, the quality of their critical comments during class discussions, and their written responses to the final question sheet.





Students will complete a comprehensive viewer’s guide at the conclusion of this film. They will share their responses with each other in both cooperative groups and as an entire class.

Students will participate in a discussion concerning various influences on the film. Students will essentially debate the validity of these influences and will discuss to what extent these influences are in fact influential to the film.





discussions.


begin with a discussion on the previous day’s viewing. Following this discussion, students will be briefed on the nature of the day’s viewing. Daily, they will be directed to take out and

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use their viewer’s guides (handout) and to take out their notebooks. Before beginning the film clip, students will be directed to watch critically for specific film elements and techniques that will be further discussed following the clip.





Step Six: At the conclusion of this unit, students will complete a handout asking them to assess various elements of Kubrick’s film.

Step Seven: Students will participate in a discussion regarding various possible generic influences on Kubrick’s film.

The ShiningFilm Studies

Respond to the following questions regarding film techniques and elements:

1. Imagery: What function do mazes, American-Indian art, and mirrors have in the film?

2. Atmosphere: What is the effect of the intense light pouring through windows and the intense snow and wind scenes in the film?

3. Camerawork: perspective shots (camera following character), camera “leading” character, panoramic landscape shots (including those of the Overlook). What is the effect of each of these types of shots?

The scene in which Shelley Duvall climbs the stairs backwards with a baseball bat was reportedly done 125 times (according to Guinness Book of World Records); however, this has been contested,

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and it was really shot approximately 45 times. Why???

4. Sound: Describe the film’s score and the atmospheric effect of echoes or the sound when Danny rides his tricycle: carpet/floor/carpet (Does this have anything to do with Jack’s “novel”?).

5. Editing: How does Kubrick use editing to enhance his film, its atmosphere, its horror? Give a specific example of a scene or scenes in which editing plays a crucial role in the film’s overall “feeling”.

6. Acting: Is Jack Nicholson’s performance just right or over-the-top? Why? What do you think about the performances of Shelley Duvall and Danny Lloyd?

7. Time: There are two “Gradys” in the film. In Jack’s interview, Ullman mentions a Charles Grady who axe-murdered his family. Then, Jack meets a Delbert Grady and assumes that he is the Grady who murdered his family. Was Jack at the Overlook before as Grady said? What is going on in the film’s final image? Is it possible that Jack is both the man in the photo and the father of Danny, husband of Wendy?

The ShiningFilm Studies

Influences on The Shining:

The Shining has been called the first epic horror film, and clearly the one characteristic of epics that the film possesses is an encyclopedic scope. It features elements from each of the following horror sub-genres. Let’s debate the degree to which these sub-genres has influenced Kubrick and his film:

(1) Ghost / Haunted House

(2) Dr. Jeckyl and Mr. Hyde/The Doppelganger

(3) Werewolf

(4) Witchcraft

(5) The Psychopath

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For each of the above horror sub-genres, explore the degree to which it influences the film. Write down your ideas, and when you’re finished, we will discuss the relationship you and your group members find between the above influences and The Shining.

Title: Good Will Hunting & American Drama (Original Screenplay)


Students will understand how to analyze and interpret the main themes of the film, the main elements of plot, and specific filmmaking techniques and elements that help develop them.

Students will understand how Gus Van Sant cultivates a tone in his film, and, specifically, awarm, sympathetic atmosphere around Will, through effective camerawork, and lighting.

Students will understand the importance of the film’s music, particularly the original musicby Elliott Smith.

Students will understand how Van Sant’s direction influences his audience’s emotional response to the film. Students will understand the importance of the superb acting performances and comfort

with the screenplay exhibited by the film’s major stars.

Essential Questions Knowledge & Skill What is a drama? What does drama depend on in order to

Why are Will’s relationships with other characters so important to this film?

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be successful? What is the film’s climax? Why? To what extent does Will’s eventual

decision to leave depend on his relationships with other characters.

How does the film’s cinematography enhance the audience’s reaction to Will?

How does humor function in this film? Why does Sean work with Will, and why

does Sean “work” with Will?Stage 2: Assessment Evidence

Students will watch 25+ minute clips from Good Will Hunting on a daily basis. For each day’s viewing, students are required to take notes in their film viewer’s notebooks and complete questions on the viewer’s guide worksheet. Students will be assessed in three ways: the quality of their notes, the quality of their critical comments during class discussions, and their written analyses of film clips. At the conclusion of this film, students will have to complete an assignment that asks them to focus on the acting performances in this film as well as other crucial elements including editing, cinematography, screenwriting, and camerawork.





Students will complete a comprehensive viewer’s guide. They will share their responses with each other in both cooperative groups and as an entire class.





discussions.


begin with a discussion on the previous day’s viewing. Following this discussion, students will be briefed on the nature of the day’s viewing. Daily, they will be directed to take out and use their viewer’s guides (handout) and to take out their notebooks. Before beginning the film clip, students will be directed to watch critically for specific film elements and techniques that will be further discussed following the clip.



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Step Six: At the conclusion of this unit, students will complete a detailed handout that asks them to critically evaluate basic film techniques and elements and their role/effectiveness in Good Will Hunting.

Name: Good Will HuntingFilm Studies

1. Good Will Hunting is a film about a young man’s struggle to find his place in the world, and, perhaps more importantly, self discovery. How do each of the following characters influence Will’s development:

Chuckie:

Sean:

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Skylar:

Lambeau:

2. Specifically, how does Will change throughout the film? What is he like at

the beginning of the film? What is he like at the end of it? Find at least two representative scenes to illustrate the change.

3. Cinematography: What is the dominant color scheme used in the film? Why do you think Van Sant chose to use such colors? What effect do they have on the film? On you?

Do the colors differ dramatically from scene to scene? Are there scenes in which the colors are obviously a departure from those predominantly used in the film?

4. Choose two scenes that demonstrate unique/interesting camerawork. Then, explain why the angles, perspectives, or shots in general matter to the scene.

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5. “Good Will Hunting” earned Matt Damon and Ben Affleck the Academy

Award for Best Original Screenplay. What scenes do you feel were particularly written well? Choose two, and explain why you feel the way you do about the scenes you chose.

6. Editing: “Good Will Hunting” features a few montages. Note them and explain how they function in the film. Are they used for character development? Mood? Comedic effect? Plot Development?

7. Did you like the film? If yes, why? What was your favorite scene and why?

If no, why not? Be specific.

Title: Eternal Sunshine of the Spotless Mind & the Avant-garde Comedy/Romance Stage 1: Desired Results

Understandings

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Students will understand how the film’s editing, Michel Gondry’s direction and Jon Brion’s original music cultivates a unique tone and atmosphere throughout the film.

Students will understand the importance of the use of basic film elements in establishing and developing its major themes and motifs, particularly those pertaining to memory. Students will understand how the film’s editing in particular influences his audience’s emotional response to the film.

Essential Questions Knowledge & Skill What is the relationship between the

past and present in Eternal Sunshine of the Spotless Mind?

What film techniques does Gondry employ to develop narrative, character, and chronology?

What are the major visual motifs in Eternal Sunshine of the Spotless Mind?

What is the relationship between Joel and Clementine like?

What is the film’s main point concerning the nature of memory?

Why is editing the film technique this film’s meaning mostly depends on?

How are visual elements such as lighting relate to the film’s subject matter: memory?

How do special effects contribute to the film’s meaning?

What is suggested by Joel’s “meeting” Clementine at the beginning of the film?

How does Jon Brion’s score capture and develop the film’s dominant mood and atmosphere?

Stage 2: Assessment EvidenceStudents will watch 25+ minute clips from Eternal Sunshine of the Spotless Mind on a daily basis. For each day’s viewing, students are required to take notes in their film viewer’s notebooks. Students will be assessed in three ways: the quality of their notes, the quality of their critical comments during class discussions, and their written responses to the final question sheet.


instructions preceding each day of viewing. Because the chronology of this film is difficult to follow, the teacher will make sure that students are following character relationships and their respective chronologies as best as possible before each day’s viewing.

Students will write notes during their daily viewing.

Students will discuss each film clip as a class, offering insights and opinions based on a critical film viewing.

Students will complete a comprehensive viewer’s guide at the conclusion of this film. They will share their responses with each other in both cooperative groups and as an entire class.

Students will participate in a discussion

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concerning various film techniques employed by Gondry. Students will debate which techniques are most important to the film’s overall meaning, including lighting, editing, and symbolism.





discussions.


begin with a discussion on the previous day’s viewing. Following this discussion, students will be briefed on the nature of the day’s viewing. Daily, they will be directed to take out their notebooks. Before beginning the film clip, students will be directed to watch critically for specific film elements and techniques that will be further discussed following the clip.





Step Six: At the conclusion of this unit, students will complete a handout asking them to assess various elements of Gondry’s film.

Name: Film StudiesEternal Sunshine of the Spotless Mind (2004) Director: Michel Gondry

Screenplay: Charlie KaufmanOn meaning…

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1) What is the significance of the film’s title? Where does it come from? What does it mean in that context?

2) Why, at the beginning of the film, does Joel’s voiceover seem…empty, full of “random thoughts” and observations (sand, car needs fixing…), and, symbolically, what is illustrated by the blank pages in his journal?

3) Is Eternal Sunshine’s main theme just a cliché (It is better to loved and lost than to never have loved at all) or does it suggest something greater about the role of (and importance of) memory? IF the latter, what does it suggest?

On basic, technical film elements…

4) What role does lighting play in the film, particularly as it pertains to memory? Be specific in your reply.

5) When are scenes shot using natural lighting, and when are scenes shot using obvious forms/sources of artificial light?

6) What is the difference between the natural light of the Montauk scenes and later scenes that employ a spotlight?

7) How does the film’s editing and special effects capture the nature of one’s memory?

8) The film is considered by many critics to be the best example of realism and surrealism coexisting in a single film effectively. What do you think? How do these elements coexist?

9) How does the film’s editing capture the nature of one’s memory?

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Title: Pride and Prejudice (2005) & Drama (Adapted Screenplay)



Students will understand the importance of basic film techniques and elements working in conjunction to create a modern remake masterpiece.

Students will understand how the Roman Osin’s cinematography, Joe Wright’s direction, and Dario Marianelli’s original music cultivates a unique tone and atmosphere throughout the

film.

Essential Questions Knowledge & Skill What is the main subject matter of the

film? How do the characters of Darcy and

Elizabeth change over the course of the film?

What is the importance of minor characters in the film?

What is the significance of the film’s title?

How does the film’s score establish a mood from the beginning of it?

How does the film’s cinematography work with its subject matter?

Why are the performances of all the actors and actresses crucial to this film in particular?

Stage 2: Assessment EvidenceStudents will watch 30+ minute clips from Pride and Prejudice on a daily basis. For each day’s viewing, students are required to take notes in their film viewer’s notebooks. Students will be assessed in three ways: the quality of their notes, the quality of their critical comments during class discussions, and their written responses to the final question sheet.

Performance Task Summary Students are given a pre-viewing

exercise to complete. This will be followed by a discussion of student responses and expectations.

Students are given specific viewing instructions preceding each day of viewing. Students will write notes during their daily viewing.

Students will discuss each film clip as a class, offering insights and opinions based on a critical film viewing.

Students will complete a comprehensive viewer’s guide during the course of their viewing. This guide focuses primarily on the film’s plot and its intricacies.

Students will complete their viewer’s

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guide at the conclusion of this film by answering the final five questions that ask them specifically about film techniques and includes a final writing assessment. They will share their responses with each other in both cooperative groups and as an entire class.

Students will participate in a discussion concerning various film techniques employed by Wright, but mostly the discussion will focus on Osin’s cinematography.





discussions.

Stage 3: Learning Activities Step One: Students will complete a pre-viewing activity that prepares them for some of the

main ideas in the film. Step Two: Prior to the viewing of any new material throughout this unit, the class will

begin with a discussion on the previous day’s viewing. Following this discussion, students will be briefed on the nature of the day’s viewing. Daily, they will be directed to take out their notebooks. Before beginning the film clip, students will be directed to watch critically for specific film elements and techniques that will be further discussed following the clip.

Step Three: The class will critically view a 30+ minute film clip. They will write their observations in their notebooks and in their plot-based viewer’s guide.

Step Four (optional): Following the screening, students will be organized into cooperative learning groups in which they will complete their critical observations with each other while completing their viewer’s guide (handout).

Step Five: A discussion of critical observations and insights will follow. If cooperative groups were formed, the students will choose a member from their respective groups to be the speaker during the class discussion.

Step Six: For homework, the students will finish whatever class work they have yet to do. An essential part of this class is the discussion component to each lesson. This component is not to be sacrificed for the sake of giving students some more time to finish answering questions in class that they can surely answer for homework.

Step Seven: At the conclusion of this unit, students will complete a guide that asks them to evaluate basic elements of the film and its techniques. This guide culminates in a final writing assessment.

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Pride and Prejudice: A Pre-viewing Activity

1. What does the film’s title suggest to you?

2. What is a film adaptation?

3. Are you familiar with Jane Austen? Have you read Pride and Prejudice or seen an earlier film adaptation?

4. Listen carefully to “Dawn,” written by Dario Marianelli, performed by Jean-Yves Thibaudet. This piece is the main musical theme of the film. Based on it, what do you expect from the film? Its subject matter? Setting? Write down your observations as you listen.

5. Look carefully at the movie poster for the film. Based on it, what do you think

the relationship will be between the two figures on it?

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Pride and Prejudice: Study GuideFilm Studies

1. What is the primary subject of this film, as announced by its opening scenes?

2. At the ball at Netherfield, what opinions to people form concerning Mr. Bingley and Mr. Darcy?

3. What does Darcy say is his reason for refusing to dance with Elizabeth?

4. Why does Elizabeth develop the opinion she has of Mr. Darcy, and what does her opinion and willingness to show it reveal about her character?

5. Why is Elizabeth’s exit from Netherfield shot the way it is? What is director Joe Wright conveying about her character?

6. Why doesn’t Jane simply tell Mr. Bingley about her feelings? Does Jane’s approach to love match her mother’s plans? Explain.

7. How is Darcy starting to feel about Elizabeth? Why? How did he want to feel about her?

8. How do the Bennet sisters stand in contrast to the other female figures in the film thus far?

9. Explain why Mr. Collins’ character is a comedic one? What is so funny about him?

10. Why is Elizabeth unwilling to accept Mr. Collins’s proposal? Evaluate his proposal, explaining why it was unlikely to persuade someone like Elizabeth. What type of person might find it persuasive?

11. Why are Elizabeth and Jane be so fond of Mr. and Mrs. Gardiner? What qualities make the Gardiners admirable?

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12. When Darcy proposes to Elizabeth, what feelings, besides those of love and admiration, does he express? What is Elizabeth’s response to his proposal?

13. In the letter, what additional information does Darcy offer about his reasons for coming between Jane and Bingley? In what way does the story Darcy tells differ from Wickham’s story? What final piece of information leads Elizabeth to judge Darcy’s story as true?

14. How does Elizabeth feel about justice of Darcy’s criticism of her family? In what way has Elizabeth’s opinion of Darcy changed? Do you think her feelings about his proposal have changed? Explain. Explain whether her feelings about her refusal and the charges she made against him have changed.

15. Which information from Darcy’s letter does Elizabeth share with Jane?

16. What description of Mr. Darcy does the housekeeper at Pemberley give? What impression does Mr. Darcy make when he meets Elizabeth and the Gardiners at Pemberley?

17. What might explain Mr. Darcy’s behavior? How has his manner toward Elizabeth change since they last met?

18. How and why have Elizabeth’s feelings toward Mr. Darcy changed? Whom does Darcy want Elizabeth to meet? Why might Darcy’s desire to have Elizabeth meet this person be significant?

19. What news does Elizabeth receive from Jane? What does Elizabeth tell Darcy? What does Elizabeth assume Darcy is thinking of her?

20. Why might Elizabeth share this news with Darcy? What reasons might Darcy have to sympathize with Elizabeth?

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21. What rumor does Lady Catherine hear? Why does Lady Catherine visit Elizabeth at Longbourn?

22. What does Lady Catherine expect of Elizabeth? In what way is Lady Catherine’s attitude toward Elizabeth similar to the attitude expressed earlier by Mr. Darcy?

23. What subject does Elizabeth broach to gauge Darcy’s feelings? What feelings does Darcy profess?

24. Why has it taken Elizabeth and Darcy so long after he returned to Longbourn to understand each other’s feelings? In what way is each to blame for their long separation? In what way is Lady Catherine responsible for their mutual understanding?

25. In the final scene at Pemberley, how would you describe the love between Darcy and Mrs. Darcy?

The following questions are specifically about the film and techniques. Some of them are only possible to answer after you have finished viewing the film.

26. Mise en scene: Note how many scenes feature all of the Bennet women in the same room, all occupied with something or other. In these scenes, how are the women arranged in the shot? Why?

27. In the party scene when Elizabeth is avoiding Mr. Collins there is a magnificent long, continuous shot that weaves throughout multiple rooms and focuses on numerous discussions. Note as many things as you can about why this shot is so impressive. Why was this scene shot this way? Is it only to impress the viewer? Is it to serve a narrative purpose? Do you think it is effective or distracting?

28. Cinematography: One of the most impressive qualities of this particular film is its cinematography. The film is beautifully photographed by Roman Osin. Choose four scenes in the film you feel are perfectly photographed, noting interior or exterior elements and why they matter to the shots you have chosen. Then, for your fifth and final scene, write about the sunrise scene in which Darcy and Elizabeth finally express their mutual love and why the cinematography enhances the drama of the scene.

29. Evaluate the performances of main characters such as Elizabeth (Keira Knightley), Darcy (Matthew Macfadyen), Mr. Bennet (Donald Sutherland), and Lady Catherine (Judi Dench). Find at least one scene for each performer that exemplifies their performance in the film.

30. Write a four paragraph evaluation of this film in which you consider the plot and its intricacies and how it works in conjunction with acting performances and film elements and techniques.

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Works Cited

Boggs, Joseph M., and Dennis W. Petrie. The Art of Watching Films. 7th ed. New York: McGraw-Hill, 2008.

Giannetti, Louis. Understanding Movies. 5th ed. New Jersey: Prentice-Hall, Inc., 1990.

“The Hollywood Style.” American Cinema. Annenberg Media. DVD. 1995.

Phillips, William H. Film: An Introduction. 3rd ed. Boston: Bedford/St. Martin’s, 2005.

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