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Grade 11 Film/Video - ADV 3M

Focus Course Profile

This course requires students to create and perform in dramatic presentations. Students will analyse, interpret, and perform dramatic works from various cultures and time periods. Students will research various acting styles and conventions that could be used in their presentations, and analyse the functions of playwrights, directors, actors, designers, technicians, and audience. This film and video course uses examples in different media as source texts and allows students to extend their theatrical understanding to include film and video arts.

Course Overview

This course provides an in-depth exploration of film and video. Students examine the evolution of Western drama from stage to screen and explore various filmmaking techniques and acting for the camera. They analyse scene structures, acting styles and genres of film. Students experiment with video production to develop a final presentation.

Scope & Sequence


Unit Descriptions UNIT 1 - Introduction to Film
This unit examines the history of Western drama and its evolution from stage to screen. Students will explore films as an important tool for communication and entertainment and the impact the film industry has had on the arts, politics, technology, and society (and vice versa). Students will view and analyse select films from the silent era to sound ("talkies") in order to examine the progression of acting techniques from over exaggerated gestures and movements in silent movies to subtler expressions, intonations, and delivery in "talkies." Students will begin to look at the filmmaking techniques that provided the opportunity for this new style of acting to develop i.e. close ups. Finally, students will critically examine the changing nature of film and how the telling of story through film has evolved i.e. use of symbolism.

UNIT 2 - Introduction to Filmmaking Techniques

In this unit, students will learn the various technical aspects of filmmaking (camera angles and movements) and will examine why and how these tools are used. Examples of these techniques will be shown from a variety of films and students will debate angles and movements from thematic and artistic perspectives. They will learn the value of storyboarding as a critical and creative aid to mounting a scene and will create storyboards for scenes from films they have watched or for their own works. Students will have a clear understanding of how to use a camera and how to apply their understanding of filmmaking techniques to their own medium.

UNIT 3 - Roles and Responsibilities in Film

In this unit, students will begin by examining how the roles of theatre i.e. director, stage manager, sound operator have evolved to accommodate the medium of film i.e. director, 1st director, sound recordist and how new roles have had to be created i.e. cinematographer, editor, dolly grip etc. Students will look at the separation between pre-production roles and responsibilities e.g. screen writer, storyboarding, location manager; production roles and responsibilities e.g. director, script supervisor; and post-production roles and responsibilities e.g. sound and film editors. They will learn the importance of pre-production work in helping them get organized on the days of shooting (call sheets, one line schedules, etc) and will compare this to the importance of pre-production work in theatre (design meetings, rehearsals, etc). Students will have a clear understanding of the safe operation and care of the technical equipment they will be using in this course.

UNIT 4 - Acting for the Camera

Students will examine acting techniques, the scene analysis process, and rehearsal and performance practices related to stage and screen. They will focus on the theoretical approaches of Stanislavsky and Uta Hagen, as well as, Judith Weston (see resources) and others (Sears and Switzer) who specialize in teaching acting for the screen. Students will apply their theories to stage and screen performance translating a scene from the stage to the screen.

UNIT 5 - Fiction versus Non-Fiction Films

Students will study fiction and non-fiction films and the difference between the two. They will examine traditional fiction narratives, documentaries and non-fiction films and their target audiences. Students will examine Canadian Historica Minutes and create their own Historica Minute. Students will discuss the docudrama and compare this to film documentaries. Students will learn how to tell narratives through fiction and documentary and will explore these onstage in preparation for unit 6.

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

Culminating Activity UNIT 6 - Filmmaking


Students will create and produce their own short films for public performance (with a choice of form and/or content). In small groups, students will work on the script, storyboard and pre-production responsibilities together. They will then divide the various production roles to be filled within their group (e.g. acting, directing, cinematographer, etc.) and will work towards creating their own film for a specified audience. Students will evaluate their own work and the work of others. Their expertise in developing, planning, and executing screen drama projects from beginning to end in a collaborative atmosphere will increase. If time, students will have the opportunity to work on each other's films. For example, student A may direct the work of student B while student B may be an actor for student C.

Resources
Print: Barr, Tony Acting for the Camera. New York: HarperCollins Publishers, 1997. ISBN 0-06-092819-0 Bernard, Ian. Film and Television Acting: From Stage to Screen. 2nd ed. Woburn, MA: ButterworthHeinemann, 1997. ISBN 0-240-80301-9 Bordwell, David & Thompson, Kristin. Film Art: An Introduction 5th ed. McGraw-Hill, 1997. ISBN 0-07-006634-5 Carroll, J., Anderson, M. & Cameron, D. Real Players?: Drama, Technology and Education. Stoke on Trent: Trentham Books Ltd., 2006. ISBN 1-85856-365-8 Hagen, U. Respect for Acting. New York: Macmillan, 1973. ISBN 0-02547390-5 Hill, Lynda. Acting Out: Scenes and Monologues from Theatre Direct Productions for Youth. Toronto: Playwrights Canada Press, 2007. ISBN 978-0-88754-882-6 Mast, Gerald & Kawin, Bruce. A Short History of the Movies. 6th ed. Needham Heights, MA: Allyn & Bacon, 1996. ISBN 0-02-377075-9 Nicholas, Angela. 99 Film Scenes for Actors. New York: HarperCollins Publishers, 1999. ISBN 0-380-79804-2 Nolan, Y., Quan, B., Seremba, G. Beyond the Pale: Dramatic Writing from First Nations Writers & Writers of Colour. Toronto: Playwrights Canada Press, 1996. ISBN 0-88754-542-4 Rabiger, M. Directing the Documentary, 3rd ed. Woburn, MA: Butterworth-Heinemann, 1998. ISBN 0-240-80270-5 See, Joan. Acting in Commercials: A guide to auditioning and performing on camera. New York: Backstage Books, 1993. ISBN 0-8230-8802-2 Stanislavski, C. An Actor Prepares. New York: Theatre Arts Books, 1967, ISBN 0-87830-001-5 Weston, Judith. Directing Actors: Creating memorable performances for film and television. Michael Wiese Productions, 1996. ISBN 9780941188241 Weston, Judith. The Film Director's Intuition: Script analysis and rehearsal techniques. Michael Wiese Productions, 2003. ISBN 9780941188784 Audio/Video Resources: Caine, Michael. Acting in Film: An Actor's Take on Movie-Making. DVD. New York: Applause Books, 2007. ISBN 1-55783-699-X National Film Board. http://www.nfb.ca/ National Film Board. Aboriginal Perspectives. http://www.nfb.ca/explore-by/keyword/en/aboriginal_perspectives/ Obomsawin, Alanis. Incident at Restigouche, http://www.nfb.ca/ Obamsawin, Alanis. My Name is Kahentiiosta. http://www.nfb.ca/ Obamsawin, Alanis. Richard Cardinal. http://www.nfb.ca/ Obamsawin, Alanis. Kanehsatake. http://www.nfb.ca/ Lowe, Colin. Circle of the Sun. http://www.nfb.ca/ Production Roles and Responsibilities Kodak's Essential Reference Guide for Filmmakers

Instructional Strategies
Direct Instruction: lecture, whole-class discussion, didactic questioning Indirect Instruction: viewing film for meaning, diagnostic questions, reflective discussion Experiential Learning: theatre games, role playing, rehearsals, brainstorming, think/pair/share, storytelling, storyboarding, filming

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

Reflective Learning: reflective journal writing, rehearsal log Independent Study: assigned worksheets, self-assessment, film and video research Interactive Instruction: large and small group discussion, play and media study, portfolio building, brainstorming, peer assessment, scene building Differentiated Instruction: flexible groupings: option to work alone, in pairs, or small groups choice of material: guided student choice from scripts and sources choice of process: student choice of production, pre-production, and post-production roles and responsibilities

Glossary of Terms Specific to Course


Business (biz): Gestures or action involving a character in the scene, usually involving a prop i.e. character lights a cigarette, puts it out, paces. Cheating out: To turn your face, or your entire body, out to the audience so they can see your face better (avoids audience only seeing profiles). The trick is to do it so that it looks natural. Cheating for the camera: See Appendix #1. Scene: The exact location where the action is happening; can have several shots. Shot: A single continuous view that probably only shows part of the action. Sequence: The complete chapter of the story; can have several scenes.

Camera shots

Aerial: A camera shot from a helicopter or airplane. Bird's Eye View: The camera films from directly above the subject. Crane: Shot from a crane. CU (Close-up): Either an object or a person's face fills most of the screen as though the viewer were 'close up' to the subject. Dissolve: A new shot is introduced by overlapping another as the original fades. ECU (Extreme Close Up): Only part of a face, for example just the eyes, are included in the frame. ELS (Extreme Long Shot): A panoramic shot, usually of a landscape or location. Establishing Shot: A very wide angle shot, usually the opening shot used to establish location or setting. Frame: The border that defines the parameters of the screen image. High Angle: The subject within the frame is seen from above as if, for example, an adult were looking down on a child. Creates the impression of inferior status of the subject filmed. Low Angle: The subject within the frame is seen from below (also known as an upshot), the camera films from below the subject (often to provide the feeling of the subject's superiority). LS (Long Shot): The entire subject fills the frame (head to foot). MS (Medium Shot / Mid-Shot): A part of the subject fills the frame (example: waist to top of head). POV - Point of View: Shows a view from the subject's perspective; the audience sees what the character sees. Two shot: A shot where two subjects comfortably fill the frame.

Camera Movements

Dolly/Tracking: The camera moves along a track beside, toward or away from the subject in the shot. Pan: The camera films moving horizontally from side to side. Steadicam: An apparatus that stabilizes the camera while worn by the camera operator for follow-shots.

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

Tilt: The camera films while moving vertically up or down. Zoom: The camera shot moves closer or further away from the subject.

Production Roles

Best Boy: Responsible for the daily running of the lighting or grip department. Boom Operator: Person responsible for operating the boom-microphone. Casting: Assignment of actors to roles within the production. Cinematographer: Responsible for making artistic and technical decisions related to filming. Director of Photography (DP): Camera and lighting supervisor on the production. Foley Artist: The person on a film crew responsible for the creation of sound effects that represent everyday noises (footsteps, wind, background noise, etc.). Gaffer: The head of the electrical department. Grip: A person responsible for the adjustment and maintenance of production equipment on the set. Their typical duties include laying dolly tracks or erecting scaffolding.

Examples of Activities
Unit 1 Introduction to Film
Silent Era vs Sound
Students will create their own silent dramas onstage using exaggerated gestures and movements to tell their story. Music will be used to enhance the mood. Students may then tell the same story using dialogue and more realistic acting with natural gestures and movements.

Unit 2 Introduction to Filmmaking Techniques


Exploring Camera Angles
Students will learn about the various camera angles i.e. low angle, high angle and the reasons one may choose to shoot from that angle. Students will then choose a theme and explore angles to help demonstrate their objective i.e. to show inferiority shoot from a high angle.

Unit 5 Fiction versus Non-Fiction


Creating Documentaries
Students will explore documentaries and choose their own topics to explore and research. Students may wish to interview others and become those characters (docudrama) onstage. Students will then discuss how film can enhance their stories.

Assessment and Evaluation Strategies


Ongoing: student-teacher conferences, descriptive feedback, self-, peer-, and whole group reflection, strategic questioning (closed, open, probing, diagnostic) Observation: anecdotal records, checklists, oral feedback, rubrics Demonstrations: projects, storyboards, role-play/improvisation, written assignments (film reviews, "writing in role", etc.), video projects, quizzes and tests Meta-cognitive: self-assessment, peer-assessment, collaboratively designed assessment tools (rubrics, checklists), reflective journals, film reviews, exit cards, student-teacher selected format to show evidence of learning

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

Unit 4 - Acting for the Camera


Inside the Frame Critical Learning
In this lesson, students will begin to appreciate how film and video use the elements of stage drama to activate text and theme: plot, setting, focus and emphasis, tension, and characters and how they are revealed primarily through significant action and dialogue. Students will compare the work of stage actors and how they adapt their performances according to whether they are playing in a large, medium, or intimate theatre to screen actors adapting performances from shot to shot. In a screen performance, everything within the frame has to have great significance, since it is all the audience sees.

Grade 11 Film and Video ADV3M

Guiding Questions
What is the importance of the frame in screen performance? How does the content of the frame establish point of view? How can an actor make choices to activate story and theme within the confines and potency of the frame? What skills and techniques do screen actors use to communicate story and theme from within a variety of frames (shot constructions)

Curriculum Expectations

Learning Goals

A1.3 create and interpret a range of characters using a variety of At the end of this lesson, students will be acting approaches able to: A2.2 use a variety of drama conventions to establish a distinctive Relate techniques of film acting to context or role in original or adapted works those of stage acting A3.2 use a range of techniques and acting approaches to refine Reflect on the creative process and its performance during rehearsal application to other contexts B1.1 use the critical analysis process before and during drama Use appropriate film terminology projects to assign roles within the group, monitor the group Explain the importance of the frame in process, and modify the roles and process as needed film and video C1.1 identify and describe the forms, elements, conventions, and Use appropriate emotional levels and techniques used in a variety of drama styles and explain how they reactions in a variety of shot help achieve specific purposes and effects constructions C1.2 use correct terminology for the various components and Understand the importance of distance processes of their own and others' drama works within the screen frame C2.2 compare the acting skill sets required by performers in current Understand the importance of media to those required in traditional theatre performing with an awareness of the camera

Instructional Components
Readiness
Prior to this lesson, students will have: experience with the creative process through drama exercises experience with character development using Stanislavsky's theories an understanding of script analysis using the concepts of objectives, obstacles, and tactics knowledge of the mechanics of film-making (shot construction etc.) experience with co-operative games and drama exercises that develop co-operation and leadership an understanding of historical cultural, political, and artistic influences on screen drama

Materials

A wooden frame the size of a TV screen, either 16 units wide, 9 units high (widescreen) or 4 units wide, 3 units high (regular TV aspect ratio) Camera DVD or video Television monitor for playback BLM #1 Camera Shots and Acting Technique BLM #2 Storyboard Assignment

Terminology

Long Shot Medium Shot (Mid Shot) Close-up Extreme Close-Up (Big Close-Up) Frame

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

Unit 4 - Acting for the Camera


Inside the Frame Minds On

Grade 11 Film and Video, Mixed ADV3M

Approximately 20 minutes

Pause and Ponder


Assessment for Learning (AfL) Observation and questioning of students for understanding. Use exit slips to determine next steps in learning. Assessment as Learning (AaL) Encourage students to use thinkpair-share discussion in filling out the handouts for understanding of the shots and terms. Students use small group discussions and feedback to gauge the effectiveness of their communication on stage and within the frame. Students use partner discussion and improvisation to assess their understanding of ways to "cheat" toward the camera. Students use the exit slips to identify gaps in their understanding and articulate questions about the concepts of frames and relationships to the camera Differentiation (DI) Students choose partners, the content to explore and choose the different frame views. Students determine roles according to strengths: one student may record, another may help create the the scenes and another may be in the scene. Instead of having students fill out the worksheet BLM #1, have students demonstrate physically. Have students write out their 10 line scenes.

Whole Class > Discussion Link back to the mechanics of filmmaking (shot construction) and to the students' experience with character development and script analysis. Link forward to the need to adapt these experiences when acting for the camera. Explain that today we will be looking at techniques used in film and television acting. Whole Class > Inside the Frame Hold up a frame, and have the class watch it from about eight feet away. Have two volunteers stand as far away from it as is necessary for the observers to see them in the frame (a) full body, (b) from the waist up (c) from the chest up, and (d) face only. Review the names of these shots as learned in Unit 2. Now have the volunteers demonstrate an emotion i.e. anger, using the same frame positions as above. Encourage the volunteers to consider the changes they need to make when the frame (camera) reveals only the face compared to the entire body i.e. the closer the camera gets, the subtler the expressions need to be; the farther away, the stronger the body language needs to be. Pairs > Worksheet Hand out BLM #1 Camera Shots and Acting Technique and ask them to fill it out in pairs. When students have completed the handouts, briefly discuss the terms and descriptions and explain that we will explore the ways in which screen actors use these concepts.

Action!

Approximately 150 minutes

Small Groups > 30 Second Scenes Divide students into groups of four to devise a 30 second silent scene involving a character's reaction to a situation (e.g. a sudden loud knock at the door, the sound of unfamiliar footsteps in the house at night, writing a big exam, seeing a boyfriend/girlfriend with someone else). Instruct students to interpret the same scene from the following shot constructions: long shot, a mid shot, a close-up, and an extreme close-up so they will end up with 4 scenes. If there are enough cameras available, give one to each group. If not, have students play within the wooden frame. Whole Class > Presentation Have students present their scenes to the class and discuss. Key Questions for Discussion: How did the use of each of these shot constructions affect you? Which construction was the most effective to convey the emotional content of the scene? What acting skills are needed for each?

Link and Layer Consider Stanislavsky, Uta Hagen or Judith Weston when Pairs > Stage Scene Divide students into pairs. Tell each pair to choose one of the 30 second scenes discussing frame shots and what acting techniques would be to develop into two person scenes using rehearsed improvisation. Scenes needed. should consist of approximately 10 lines of dialogue and will be for the stage. Encourage students to consider the perspective of a character whose story was not told (e.g. the person who was knocking at the door, the teacher proctoring Quick Tip To further demonstrate the the exam). difference between frame shots and acting techniques, have When the scene is completed and staged, ask students to translate the same students find their own space in scene to a mid-shot within the frame. Have students join another pair to the room. Call out an emotion watch, compare, and discuss both the stage and screen versions of one and a frame position and have another's scenes. Encourage students to use peer feedback to refine their students demonstrate their work. Instruct pairs to move to another group and repeat this process. understanding through tableau i.e. grief/long shot - students use

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

Whole Class > Present As a class, watch three or four scenes, both for stage and for screen. Discuss the effectiveness of the scenes. Key Questions for Discussion: In what way did the actors bring the scene to life for the stage? For the screen? Do you see any strengths or restrictions for either of these media? What did you do differently when communicating the scene for stage vs for the screen? Pairs > Cheating for the Camera Discuss (a) the value of the screen actor's face in communicating intent and reactions and (b) the screen convention of "cheating" for the camera. See Appendix #1 Cheating for the Camera. Divide students into pairs, and in role as directors, have them discuss the different reasons why they may need to have actors "cheat" for the camera. With the class, have students discuss some of the possibilities. Share film examples of cheating for the camera. Whole Class > Discussion Have the class reflect on "cheating" for the camera. Key Questions for Discussion How do you think it would feel to speak to another actor without making eye contact? In our everyday lives, do we always look straight at the person we're speaking to? In what ways does the need to "cheat" for the camera affect the blocking scenes? How does cheating for the camera enhance a scene?

their entire body to demonstrate understanding. If doing 4 shots x 4 scenes will take too much time, do one scene using 4 different construction shots. For movie examples, search YouTube for short films. Hyperlinks Durham's Glossary of Film Terms Mise-en-scene Camera Angles Filmmaking Techniques - a senior High School project that demonstrates a variety of camera techniques including angles, framing, movement, focus, etc.

Consolidation

Approximately 30 minutes

Individual > Storyboard Hand out BLM #2 Storyboard Assignment for students to complete. Tell students they are to storyboard their 10 line scenes to indicate possible instances of when cheating may occur. Explain that next class they will work from the storyboards to create their scenes and will videotape it for their video portfolio. Exit slips: Hand out small slips of paper. Have students write briefly any questions or concerns they have about either the assignment or the notion of frames. Collect the slips as students leave. Next steps: Students will complete their storyboards and share them with their partners. Students will negotiate and compromise to refine their ten-line scene in order to videotape it for their video portfolio. During the following two classes, students will learn how screen actors communicate story, character, and objectives through the use of gestures and props.

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

Unit 4 - Acting for the Camera


Business Critical Learning
In this lesson, students will continue to build on the skills learned previously. They will continue to explore the idea that everything within the frame on screen has to have great significance, since it is all the audience sees.They will explore the idea of business and the importance of props and how they can be used to create tension and/or reveal a marked shift in thinking. Students will also explore what props can reveal about socio-economic status and how they can be used to support gender stereotypes.

Grade 11 Film and Video ADV3M

Guiding Questions
How does the choice of material within the frame reflect the analysis and interpretation of a script? How does the content of the frame establish point of view? How can an actor make choices to activate story and theme within the confines and potency of the frame? How can an actor perform with an awareness of the camera while still appearing natural? How can screen actors communicate story and theme through "business" and small props?

Curriculum Expectations

Learning Goals

A1.3 create and interpret a range of characters using a variety of At the end of this lesson, students will be acting approaches able to: A2.2 use a variety of drama conventions to establish a distinctive Relate techniques of film acting to context or role in original or adapted works those of stage acting A3.2 use a range of techniques and acting approaches to refine Reflect on the creative process and its performance during rehearsal application to other contexts B1.1 use the critical analysis process before and during drama Use appropriate film terminology projects to assign roles within the group, monitor the group Explain the importance of the actor's process, and modify the roles and process as needed face in film and video C1.1 identify and describe the forms, elements, conventions, and Use appropriate blocking and business techniques used in a variety of drama styles and explain how they in a mid shot help achieve specific purposes and effects Understand the importance of C1.2 use correct terminology for the various components and "business" within the screen frame processes of their own and others' drama works Critically analyse film choices to C2.2 compare the acting skill sets required by performers in current uncover assumptions about gender media to those required in traditional theatre and/or socio-economic status

Instructional Components
Readiness
Prior to this lesson, students will have completed the storyboards for their two character scenes from the previous lesson. They will have experience providing constructive and descriptive feedback to peers and will understand the concept "cheating for the camera." Students will also know how to safely operate and care for video cameras.

Materials

Wooden frame the size of a TV screen, 16 units wide, 9 units high (wide-screen) 4:3 (regular TV) 6 cameras Television monitor for playback Selection of small props: pencils, keys, glasses, etc. BLM #3 Watching Narrative Film

Terminology
Business Props

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

Unit 4 - Acting for the Camera


Business Minds On:
Approximately 10 minutes

Grade 11 Film and Video ADV 3M

Pause and Ponder


Assessment for Learning (AfL) Address any concerns that may have arisen from the exit cards from the previous lesson. Continual questioning and observing of class to determine students' readiness to move on. Use today's exit slips to determine next steps in learning

Whole Class > Discussion Link back to the techniques studied in the previous lesson regarding screen actors adjustments to the shots used and to the technique of "cheating" for the camera. Explain that today they will be looking at additional techniques used in film acting, and that students will have their 2 person scenes videotaped for their video portfolio. Discuss the value of the storyboarding that students completed for homework. Teacher prompts: What are the merits and difficulties of storyboarding alone vs. working on your feet with a partner?

Action!

Assessment as Learning (Aal) Use teacher prompts to encourage student discussion of learning style, working preferences, and to assist in Have each pair join another and provide feedback for their two-person scenes. meta-cognition of learning Once finished, tell each pair they will videotape the other group's refined scene preferences. Students use the exit slips to identify gaps in their using their storyboard as a guide. understanding and articulate questions about the concept Whole Class > Discussion "business." Watch and discuss the videotaped scenes. Pairs > Filming Tell students to share their individual storyboards with their original partners. Instruct students to select the images they will use to stage their scene for the camera. Rehearse the scenes using the images chosen. Key Questions for Discussion: Which of the solutions to cheating did you find particularly effective? What techniques did groups use to make their cheating seem natural? What did some of the faces communicate? How did the choices enhance the story? Whole Class > Business Explain the importance of "business" when acting for the camera. Through business, an actor can let the audience understand another aspect of his/her character, or mark where a thought is changing; the way the actor does the action lets the audience know what s/he is really feeling. Ask students to each select a small prop and find their own space in the drama classroom. Each student will work alone to explore the variety of ways s/he can use the prop (e.g. tap a pencil, twirl it, sketch with it) in a one-minute time period. Select three or four volunteers to present their use of the props on video or within the wooden frame. Discuss with the class the "props scenes" presented. Teacher Prompts: What information did you get from the actor's use of the prop? Did the actor's point of view or emotional state change with the changing use of the prop? Did any of the uses of the prop show an actor's intent? Pairs > 60 Second Scenes Divide students into pairs or have them return to their original partners. Tell students that they will now explore how a prop can help communicate theme, mood, character and/or content. Students can continue to work on the scenes they have already developed or they could recreate a two-person scene from one of the films they studied in the course. Encourage students to develop the scene by changing either the gender or the socio-economic status of the characters and to lengthen it to 60 seconds. Advise students to choose their prop carefully and to experiment with the different ways it can be used. Tell students that all business with the prop must be within the frame and their hands and/or the prop(s) should not move in and out of the frame. Give students time to rehearse the scene for a mid shot. Differentiation (DI) Students choose own partners, groups, props and content. If possible, let students work on computers to type up their scenes. If students are still struggling with the concept, make the groups so that they are paired with students who have grasped the concept. Quick Tip If students don't have access to a TV, provide them with a video of a film that they could watch at lunch in the library or drama room. Tell students they may watch 30 minutes of a television drama if they don't have access to a film.

Approximately 125 minutes

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

10

Whole Class > Present As a class, watch and discuss the "60 second scenes." Key Questions for Discussion What information did you get from the actor's use of props? What difficulties arise from using props within a shot? What effect was created by the way an actor handled the prop? What insights did we gain when the gender or socio-economic status of the character changed? In what ways did the choice and use of the prop contribute to any insights gained?

Consolidation:

Approximately 15 minutes

Individual > Research Discuss the importance of film research and hand out BLM #3 Watching Narrative Film. Ask students to watch 30 minutes of narrative film before the next class, and to record (a) the number and type of shots used, (b) the use screen actors made of business, (c) the actors' use of props, (d) the ways in which the props used indicate socio-economic status or gender stereotypes. Exit slips: Hand out small slips of paper. Have students write briefly any questions or concerns they have about either the assignment or the notion of "business." Collect the slips as students leave. Next steps: Students will share and discuss their findings from BLM #3 Watching Narrative Film. During the following two classes, students will further experiment with ways that screen actors communicate story, character, and objectives through the use of gestures and props. They will then explore the use of space and time in stage and screen acting.

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

11

Unit 5 - Fiction versus Non-Fiction Film


A moment in time Critical Learning
In this lesson, students will explore film as an information medium. Students will study how history can be revealed through a "lens of interpretation" in such media as Canadian Historica Minutes. They will learn the importance of sensory images in evoking time and place and the importance of audience in the telling of a story. Students will consider stereotypes and fair representations and how film technique can influence our perspectives and understanding.

Grade 11 Film and Video ADV3M

Guiding Questions
What is the intended purpose or goal of the "Historica Minutes" advertisements? Who is the intended audience? Are they factual representations of Canadian history? In what way? How are these short films effective and can you imagine some of the challenges associated with their production? How could these episodes be improved? How are the characters/historical figures represented? Are these representations thoughtful and fair? Which film conventions contribute or subtract from the success of the "Historica Minute"?

Curriculum Expectations

Learning Goals

A3.3 select and use a variety of technological tools, including forms At the end of this lesson, students will be of new media, to highlight the message and enhance the impact of able to: drama works Write and perform a short play or film B1.2 analyse drama works to determine how they communicate that tells the story of an important ideas about issues, culture, and society figure or event from Canadian history B2.3 identify ways in which drama can influence the broader Analyse works of film and drama with community particular attention paid to stereotypes C1.2 use correct terminology for the various components and and historical accuracy processes of their own and others drama works Use correct terminology to judge C2.2 compare the acting skill sets required by performers in current works of film based on the directorial media to those required in traditional theatre choices made and the use of film conventions

Instructional Components
Readiness
Familiarity with film concepts, conventions and production roles and Access to Internet and projection capability responsibilities. Students will have an understanding of or DVD of Historica Minutes characterization and experience with filmmaking techniques. Students will have explored stereotypes. Pictures or stories of significant people and events from Canadian History

Materials

Terminology

Authenticity Heritage Culture Ethnicity Indigenous Docudrama Narration Characterization Film conventions (types of shot, lighting, sound, etc.) Historical accuracy

BLM #4 Historica Worksheet

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

12

Unit 5 - Fiction versus Non-Fiction Film


A moment in time Minds On
Approximately 10 minutes

Grade 11 Film and Video ADV3M

Pause and Ponder


Assessment of Learning (AofL) Peer-evaluation, audience and teacher feedback of performance pieces using appropriate terminology will determine learning and next steps. Assessment as Learning (AaL) Check student feedback for appropriate use of film terminology. Provide feedback concerning cultures, stereotypes, and accuracy during class discussions.

Pairs > Brainstorm Have students turn to their elbow partners and brainstorm a list of Canadian films. Whole Class > Discussion Invite students to share their responses and to participate in the following discussion. Key Questions for Discussion: How many of the films you mentioned are set in a Canadian location? Where? How many of you watch Canadian TV shows? Why or why not? Which shows/movies deal with Canadian history or are produced from a Canadian perspective? Which era of time do some of the examples portray? Whole Class > Historica Minutes Ask students if they recall any of the Historica Minutes played on television as commercials (also known as Heritage Minutes). Invite students to discuss the episodes they have seen.

Differentiation (DI) Approximately 55 minutes Writing in role as a character Action! from the Historica Minute may provide an alternate opportunity Individual > Worksheet As a class, watch 1 or 2 selections of Historica Minutes (available online or as a to demonstrate learning. DVD) as broadcast on Canadian television i.e. Louis Riel, Sitting Bull, or Hot-seating students in role as a Peacemaker. character from the Historica Minutes may serve to deepen For each short film, ask students to fill out BLM #4 Historica understanding and empathy for Worksheet describing some of the things they visually observe i.e. describe the characters. the characters, their clothing and appearance, the background, the props and set, visual effects, etc. and some of the things they hear - names, dialogue, Alternate performance pieces narration, sound effects (horses, fire crackling, etc.) and music. Encourage might include the 5 minutes students to avoid making inferences. before or the 5 minutes after one of the episodes watched. Whole Class > Discussion Have students think-pair-share their observations. Encourage them to add to Consider having the students their worksheets anything they might have missed. Discuss the imagined environment of the film i.e., smells, feeling, temperature, textures, sights and create their episodes for a target sounds. What was the mood and how was it created? Have students complete audience of teenagers or small children. the rest of the analysis and interpretation portion of their worksheets individually or with their partners. Now discuss the presumed time-period, location, familiarity with the topics Quick Tip and/or historical figures, the character's ethnic origins, etc. Provide students This lesson is adaptable to the with the actual context and history of each "minute" (see Canadian interests of both teacher and Encyclopedia in the Hyperlink section). students. Historica Minutes are wide-ranging in subject, theme, Discuss with the class, how accurate their predictions and inferences were. Have students complete the last section of their worksheets and follow up with and historical era. discussion. Hyperlinks Historica Key Questions for Discussion Were parts funny when not intended? Were there stereotypical characterizations? If so, in what way, and why should Canadian Encyclopedia they be avoided? Which directorial choices were effective and which could be improved? Why? How were film conventions employed to convey the story and message? What are the challenges associated with the brevity of a television commercial, and how are they overcome?

Consolidation

Approximately 10 minutes

Small Groups > Creating Historica Minutes Divide students into groups and explain that they will be creating their own Historica Minute for stage performance (with an option to film). The goal will be

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

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to create work similar to the episodes they have watched. Brainstorm possible Canadian events or people from Canadian history that students could use as their inspiration. Discuss research avenues. Encourage students to assign roles and homework tasks such as researchers, scriptwriters, actors, camera operators, etc. Next Steps: Students will research their inspiration and create a storyboard for their Historica Minute. Full production values such as costumes, make up, music, lighting, etc. must be fully realized. Students will spend the next few classes on this assignment and their final work will be evaluated. Consider inviting an audience to view the final products.

Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education

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