AWR Film/Video 4M - Ontario Art Education Association · 2018-09-24 · AWR 4M Film and Video This course will further develop the knowledge and skills that enable students to communicate

AWR 4M Film/Video Senior Course OutlineLead Writer: Lori Comerford, Writer: Preston Schiedel, Reviewer: Jane Dewar

Resource to Support the 2010 Revised Ontario Arts Curriculum Policy Documents

Lead Editor: Terry Reeves, Project Editors: Jane Dewar, Susan Daugherty, Rick Gee, Mari Nicolson, Bob Phillips, Pat Rocco, Margot Roi, Joanna Swim, Kathy Yamashita, Contributing Editor: Mervi Salo

OSEA - Ontario Society for Education through Art - 2010www.osea.on.ca

http://www.osea.on.ca

http://www.osea.on.ca

AWR 4M Film and Video

This course will further develop the knowledge and skills that enable students to communicate ideas,feelings and beliefs through the artistic medium of film and video. The overall theme of the course isVision. Through the critical analysis process, students will appreciate the vision of importantCanadian and international directors, filmmakers and artists. Through the creative process studentswill be encouraged to discover their own unique vision as an artist and film maker. With practice increative and innovative problem solving, students will prepare themselves to meet the challenges ofan ever increasingly complex technological society.

Unit 1 - Personal VisionStudents will -

• look within for inspiration and communicate their memories and feelings for their future• refresh their pre-production skills such as brainstorming, scripting, and storyboarding and

their production skills as they work in small groups to produce a short film based on apersonal memory or dream.

Unit 2 - Artistic VisionStudents will -

• investigate the work of famous directors and discover how they use the medium of film andmise en scene to communicate moods and feelings

• create a short movie trailer for a famous painting to refresh their skills in post-productiontechniques such as sound and editing

• work through script and storyboard to produce a short Scene of the Senses with inspirationfrom a famous director's signature style.

Unit 3 - Narrative VisionStudents will -

• turn their visionary skills to the narrative structure of documentary film making• understand how documentary film is different from other types of film making• appreciate how documentary film makers use different styles and approaches to

communicate their vision• use the critical analysis process to help them understand how the narrative structure is

applied to different documentary films• create an individual short documentary structured around a single question and a bigger

group production which explores a relevant issue in a narrative style documentaryapproach.

Unit 4 - Experimental VisionStudents will -

• consider an experimental approach to video by discovering the work of video basedinstallation artists who work "Beyond the Silver Screen"

• showcase their individual strengths in a storyboard assignment and their ability to workcollectively towards a shared vision in a final summative work

• form artist collectives to produce non-linear and non-narrative video shorts inspired by theindividual storyboards. The groups will bring their films together in a class video art piece.The project can be extended to installation art by having the artist collectives propose waysto project the video in the school

• extend their experience beyond the classroom.

AWR 4M Fil/Video www.osea.on.ca2 of 54

Unit 1 Description - Personal Vision (Approximately 25 hours)

Students will create self-exploratory films works that reflect their personal viewpoints, experiences,and plans. They will research information of post secondary pathways and use the data in a filmabout their future plans. Students will also use their experience of a dream or specific memory for afilm that is based on a personal memory and reflection.

Overall and Specific Expectations

A1. The Creative Process: apply the creative process tocreate a variety of artworks, individually and/orcollaboratively;A1.1 use various strategies, individually and/orcollaboratively, with increasing skill to generate, explore,and elaborate on original ideas and to develop, reflect on,and revise detailed plans for the creation of art works thataddress a variety of creative challengesA1.2 apply, with increasing fluency and flexibility, theappropriate stages of the creative process to producetwo- and three-dimensional art works using a variety oftraditional and contemporary mediaA1.3 document their use of each stage of the creativeprocess, and provide evidence of critical inquiry, in aportfolio that includes a range of art works created for avariety of purposes and review and reflect on the contentsof their portfolio to determine how effectively they haveused the creative process

A2. The Elements and Principles of Design: apply theelements and principles of design to create art works forthe purpose of self-expression and to communicate ideas,information, and/or messages;A2.1 apply the elements and principles of design withincreasing skill and creativity to produce two- and three-dimensional art works that express personal feelings andcommunicate specific emotionsA2.2 apply the elements and principles of design as wellas a wide range of art-making conventions with increasingskill and creativity to produce art works that commentand/or communicate a clear point of view on a variety ofissues

A3. Production and Presentation: produce art works,using a variety of media/materials and traditional andemerging technologies, tools, and techniques, anddemonstrate an understanding of a variety of ways ofpresenting their works and the works of others.

Learning Goals:

By the end of this unit students will beable to:

• use six words and an image tocreate an original Six WordMemoir using digital imageryaccompanied by text

• create a short video “rant”based on what they would liketo do after they finish highschool.

• manipulate video footage and/or still images with an originalnarration/soundtrack thatrelates to a personal dream,or memory of a specificexperience.

Key Questions:

How can film making be used in a self-exploratory way?

What post-secondary options areavailable in the film industry?

How can film and video be used tocommunicate personal ideas, feelingsand beliefs?

Prior Learning:

Basic knowledge of creative processand film production processes


A3.1 use with increasing skill a wide variety of media,including alternative media, and current technologies tocreate two- and three-dimensional art works for a varietyof purposesA3.2 use with increasing skill a wide variety of traditionaland current materials, technologies, techniques, and toolsto create original art works for a variety of purposes andaudiencesA3.3 demonstrate an understanding of the appropriatestandards and conventions for presenting art works for avariety of purposes and apply these standards andconventions when preparing various types of visual artworks for presentationA3.4 demonstrate an understanding of curatorialconsiderations, including those relating to the purpose ofand audience for an exhibition, and explain the impactcuratorial judgements can have on a collection of artworks

B1. The Critical Analysis Process: demonstrate anunderstanding of the critical analysis process byexamining, interpreting, evaluating, and reflectingon various art works;B1.1 demonstrate the ability to support their initialresponses to a variety of art works with informedunderstanding of the works’ artistic form and functionB1.2 deconstruct with increasing skill and insight thevisual content and the use of elements and principles ofdesign in their own art work and the work of others

B2. Art, Society, and Values: demonstrate anunderstanding of how art works reflect the societies inwhich they were created, and how they can affect bothsocial and personal values;B2.3 assess the impact that the creation and analysis ofart works has had on their personal identity and valuesand their perceptions of society

B3. Connections Beyond the Classroom: demonstratean understanding of and analyse the requirements for avariety of opportunities related to visual arts.B3.1 analyse, on the basis of self-directed research, therequirements for postsecondary study and for careers ofpersonal interest in arts-related fields

Assessment for and of Learning:

Lesson #1This project is a diagnostic tool to seehow students work through the creativeprocess independently. Writtenformative feedback with comments fromthe teacher and peers during thepresentation will be given. Students willself reflect in their journal during thecreative process.

Lesson #2This assignment is a diagnosticassessment of the student's knowledgeof the film making process and technicalskill. The teacher will collect and givefeedback on the complete Post-Secondary Survey sheet.

Students will complete a feedback form,or offer their viewpoint in discussionabout the films during the presentation.

The teacher and students will co-construct a checklist for assessing thefinished video. It will assess thetechnical quality of the filming and theediting, the development of the dialogue,and how well the students workedtogether.


C1. Terminology: demonstrate an understanding of, anduse correct terminology when referring to, elements,principles, and other components related to visual arts;C1.1 extend their understanding of the elements andprinciples of design, and use terminology related to theseelements and principles correctly and appropriately whencreating or analysing a variety of art worksC1.2 explain in detail terminology related to a wide varietyof techniques, materials, and tools and use thisterminology correctly and appropriately when creating,analysing, and/or presenting art worksC1.3 explain in detail the stages of the creative processand the critical analysis process, and explain, usingappropriate terminology, how these processes contributeto the successful creation and analysis of art works

C2. Conventions and Techniques: demonstrate anunderstanding of conventions and techniques used in thecreation of visual art works;C2.2 extend their understanding of the variety ofconventions used in visual art and explain in detail howthey are used in a variety of art works

C3. Responsible Practices: demonstrate anunderstanding of responsible practices in visual arts.C3.1 demonstrate an understanding of legal and ethicalissues related to the appropriation of virtual, intellectual,or physical property and apply legal and ethical practiceswhen creating and displaying art workC3.2 demonstrate appropriate health and safetyprocedures and conscientious practices in the selectionand use of various materials, techniques, tools, andtechnologies when producing or presenting art works

Instructional Strategies:

Lesson#1: I came, I saw, I conquered: The Six WordMemoir

Teacher will:• introduce the concept of "Six Word Memoirs"• show a variety of Six Word Memoirs, which may

include hard copy books (see Resources), digitalstill images, or video clips

• explain the history behind the Six Word Memoirciting Larry Smith founder of Smith Magazine(http://www.smithmag.net/) as the originatorbased on a story about Ernest Hemingway: In

Lesson #3Students will complete a feedback form(to be located at every computer station)offering constructive views on thetechnical quality, the sense of illusioncreated in the dream sequence, andhow the videos made them feel.

Each group will also do a selfassessment to review the technicalquality, the elements that worked well,and those that may need more work, aswell as each group membersinvolvement and ability to work as ateam.

The teacher will take his/her feedbacksessions into account, but thesummative assessment will be in theform of a teacher/student co-constructedrubric that will focus on technical,aesthetic, and teamwork elements.


http://www.smithmag.net/

the 1920s, Ernest Hemingway bet ten dollarsthat he could write a complete story in just sixwords. He wrote: "For Sale: baby shoes, neverworn."

• ask students to use the Process Journal tobrainstorm possible Six Word Memoirs that saysomething about themselves or about how theyfeel about something. For inspiration, teachermay prompt: If your friend was introducing youto someone new, what would they say? Whatwould your enemy say? What aggravates you?What makes you want to leap for joy?Brainstorm a list of 100 words that describe you.Name the 25 experiences that you've had that

you think might define your life.• ask students to generate at least 4 possible

Memoirs• ask students to work with an elbow partner to

rate each using a score based on word flow,clarity, message, and personal relevance

• have students select the Memoir that they ratedthe highest, and brainstorm for imagery thatwould work visually with the text by producing anumber of thumbnail sketches in their ProcessJournal. If they are using digital still images, itmust be an original image taken by the student,they may want to try a few different images withtheir text, and then choose the most successfulone.

• decide what format the project will use based onavailable technical resources. It may be a singleframe from a digital camera that has a textoverlay (or incorporated into the frame, such asa student holding something that has their SixWord Memoir written on it), or it may take theform of a very short video clip of moving action inwhich the Memoir is revealed

• or a student will, compile all of the digital filesand create a presentation for the class to view.The files could also be printed and displayed orprojected in the school.

Performance Tasks for Evaluation:

Lesson #3A teacher/student co-constructed rubricas a summative evaluation of a videoshort that manipulates video footageand/or still images with an originalnarration/soundtrack that relates to apersonal dream, or memory of aspecific experience.


Lesson #2 - Back to My Future

Teacher will:• preview a number of short video rants (from the

Internet); highlight a variety of filmingtechniques and subject matter

• generate a class discussion concerning whichvideos were effective and what made themsuccessful

• inform students where to find resources on postsecondary schools and programs within theschool. In most cases, hard copy information isavailable in the Student Service office and thelibrary. Students may access online informationabout post secondary opportunities as well

• organize students in pairs and have themcomplete the Post-Secondary Survey Form (seeappendix AWR4M 1:1 Post-Secondary SurveyBLM). Using the information they have gathered,students will informally rate the post-secondaryprograms based on their own set of criteria (thecriteria may differ from student to student).Students will then create a list of all the possiblepathways for their post high school future. Thismay include returning for another year, enteringthe workforce, traveling, apprenticing, orstudying at College or University. From this liststudents will create a 1 – 2 minute monologueabout what they might do after high school. It willbe written in the first person tense and include aprojection on what post-secondary programs areavailable and what choices they are entertaining.Challenge students to make their research and

opinions in an entertaining way - visually andthrough the content

• encourage students to consider locations thatreflect the dialogue, such as in the library or at acomputer when talking about post-secondaryprograms, in the gym if they have athleticambitions, or in technology areas if they have aninterest in apprenticeships and the trades.

• organize a screening of finished films withteacher/peer feedback.

• Note: The filming and editing of the “rant” shouldcreate the illusion of a seamless dialogue.Student’s wishing to attempt a rolling film, one

DI

The Six Word Memoir can utilize avariety of skills and interests.Depending on the students's ability/interests, the assignment can rangefrom a printed image with text to a shortmoving image clip with voice-overnarrative.

The Back to the Future project can betaken in a very individual directiondepending on the students post-secondary path.

Extensions

As an option in the Six Word Memoir,the teacher may ask the students toincorporate their name into the finishedpiece.


take, no edit technique as seen on The MercerReport should consult the teacher beforebeginning the filming. Both students in the groupwill take turns at being the actor and the cameraperson, and they will co-edit their films.

Lesson #3: I Had A Dream

Teacher will:• preview a number of dream scenes from a

variety of movies• guide students in a discussion of some of the

techniques that directors, editors, andcinematographers use to create a dream-likesequence

• organize students in groups of two to four,students will plan and create a scene that relatesto memory or dreaming states of mind

• inform students of the requirements for thevideo: 2 - 3 minutes in length; detailedstoryboard and script; soundtrack, a narrativeand/or sound effects

• challenge students to create a script based onan original dream or memory that one of thegroup members experienced. An alternativechoice might be to use a memory of a specificexperience as the basis for the video (the samecriteria applies)

• monitor the development of the script (in mostcases the dialogue of the character or charactersis limited, and the visual effects and soundtrackare more powerful) and offer feedback. Theteacher will also monitor how the groupmembers are working together, and rearrangegroups if need be

• review basic camera concepts and thestoryboarding activities from the AWR2O course.As the group is working on the script they shouldalso be developing a draft storyboard thatreflects both the audio and visual elements.Once the script is finalized, the group shouldwork up their storyboard to a finished state (for arefresher on storyboards visithttp://www.dynamicimagesdr.com/ to view thework of David Russell).

• conference with each group and review theirscript and storyboard before they begin filming.

Support Materials & Resources

Six Word MemoirLarry Smith and RachelFershleiser, Can't Keep My OwnSecrets: Six-Word Memoirs by TeensFamous & Obscure Harper Teen(September 1, 2009)

Larry Smith, Not Quite What I WasPlanning: Six-Word Memoirs by WritersFamous and Obscure

Dream Scenes:

81/2 Federico Fellini (1963)Spellbound Alfred Hitchcock (1945)Wild Strawberries Ingmar Bergman(1957)Blade Runner Ridley Scott (1982)Lost Highway David Lynch (1997)Twin Peaks Fire Walk With Me (withDavid Bowie) David Lynch

Storyboarding:http://www.dynamicimagesdr.com/ DavidRussell Storyboard Artist (excellentresource)http://64.225.121.96/index.shtml(Storyboarding Refresher)http://www.hollywoodstoryboards.com/

Appendices:

AWR4M 1:1 Post-Secondary Survey


http://www.dynamicimagesdr.com/

http://www.dynamicimagesdr.com/

The teacher will offer constructive commentsand the students will take them intoconsideration for a possible revision of theirplans

• ensure that all members of the group areinvolved in all aspects of the video creation. It issuggested to shoot scenes more than once fromdifferent angles and view points so that there areclip options at the editing stage.

• instruct the students that they will film and editthe short, adding sound and visual effectsincluding an opening title and a credit screen atthe end, following the storyboard and script asclose as possible

• initiate a co-constructed rubric as a summativeevaluation of a video short that manipulatesvideo footage and/or still images with an originalnarration/soundtrack that relates to a personaldream, or memory of a specific experience

• view and critique the finished projects


Glossary of Terms

Ambient SoundAmbient sound is background noise that is provided by the "natural" environment. If this sound werenot present in the projection of a particular scene -- specifically a scene in which the only sound isdialogue -- the scene would sound hollow and empty to the audience. The environmental noises canbe recorded by a separate microphone during filming or may be added by the foley artists in theremix of the scene.

BoomA mirophone placed on a long pole. Used to pick up sound in the scene but must not be seen by thecamera.

Camera AngleThis term refers to the point of view held by the focal point of the camera when it is positioned forshooting. The name of the angle refers to where the camera is. Some of the more commonexamples are:

Eye Level AngleEstablishes the viewer as a participant in the scene, and observer. Makes the situationappear real.

High Camera AngleWhen the camera is placed above eye level the effect is a diminishing of the character orscene. Can be used to communicate more information about a scene, especially when usedwith extreme long shots and establishing shots.

Low Camera AngleWhen the camera is placed below eye level the effect is an empowerment of the subject or alarger than life appeal.

Dutch AngleA specialized camera angle that does not employ the normal horizontal and vertical axis butinstead employs a diagonal axis with the intent of creating sense of tension or uneasiness inthe audience.

Camera MovementRarely does the camera remain still or static. The main ways a camera can move are panning, tilting,tracking or zooming of the lens. Some examples are:

Dolly ShotA camera movement usually used on a still subject or scene. The camera is in motion on adolly, which is a tripod on wheels. When the camera moves into the scene or towards thesubject it is called "dolly-in"; likewise, when the camera moves away from the scene orsubject it is referred to as "dolly-out". This a much more professional choice than zooming.

Tracking Shot


A specific camera shot in which the subject being filmed seems to followed by the camera.The camera moves with the subject. The shot can be achieved through tracking devicessuch as the use of a crane or dolly. In a pinch the camera person can be pushed along in achair on rollers!

Pan/TiltPanning is achieved by moving the camera while turning it on a horizontal axis.Tilting is a vertical movement. This technique is useful in communicating an overall view ofthe scene, lead the audience to a particular person or place, follow a movement across ascene, or give the audience the perspective as seen by a character when moving her/hishead.

ZoomThis is accomplished through specialized lenses which change the focal length of the lenseto create the appearance of magnifying the image for close up shots. While the focal lengthis in motion the camera appears to move in or away from the subject or scene.

CopyrightAn artist's legal right to control the ownership of their work.

CraneA long pole extension to mount a camera on to achieve greater height.

CreditsA list of names for the roles and responsibilities in the movie.

Depth of FieldThe distance from the camera lense in which focus is maintained.

DialogueThe spoken words in a script or movie.

Diegetic SoundSound that appears to come from within the actual scene of the movie. Non-diegetic sound isdubbed in during the post-production process such as music and voice overs.

Digital ZoomA simulation of large lens. In reality the camera just enlarged and cropped the image. Causes alower picture quality.

DubbingIn the film industry dubbing refers to the addition of sound effects, music, and dialogue on top of thatwhich has already been recorded. Dubbing also indicates the addition of the complete dialogue overthe original dialogue track in a foreign film.

DV (Digital Video)Moving images that are recorded as digital information. It retains its quality when copied.


EditingOrganizing all the components of a film, such as images, clips, sound and title/credits into a a wholevideo.

External RhythmThe pace at which a film moves. Rhythms are sometimes the signature of a director and include her/his cutting, filming, angling and dolly/panning procedures. The manipulation of these devices willaffect the tempo of the film as it is viewed by the audience and can achieve quick and unnervingeffects or slow, gloomy moods.

Field of View or FramingThe area covered in the viewfinder of the camera. Some examples are:

Extreme Long Shot (Establishing Shot) EAn extreme wide angle that shows a large view of the scene. At the beginning of a film orscene a wide-angle or full scene shot for the purpose of identifying the location orestablishing the setting. This allows the audience to become oriented.

Long Shot (Full Shot)This shot most often refers to a complete body shot of a subject (from head-to-toe) . Used toshow action and information about body movement.

Medium ShotA shot showing the waist to above the head of a subject. Often used for dialogue,

conversation, or interviews.

Close-up (Reaction Shot)Often taken at close range or through a telephoto lens, the close-up provides detail of aperson's face or the features of an object. The image can be quite striking and is often usedto communicate emotion and reaction.

Extreme Close-up (Detail Shot)Magnified close-ups in which an extreme detail is used for the purpose of dramaticemphasis. Tension is usually created as the viewer is not accustomed to being so close to asubject and not seeing the rest of the scene.

FilmLoosely refers to a motion picture. Specifically, the celluloid material used in traditional filmmaking.

FirewireA cable that allows for very fast transfer of data from a camera to the computer.

FocusAdjusting the lense to create a sharp or unsharp image as required.

FoleySound effects recorded in a sound studio to supplement the movie, such as footsteps. created withinteresting techniques by a foley artist.


FPS (Frames per Second)The number of frames captured or played back in a film. The standard rate is 24 fps in film and 30fps in NTSC video.

HDV (High Definition Video)Video captured and played back at very high resolution. The standard format is widescreen (16:9ratio).

ImportImporting is downloading a video or audio clip in a digital video editing program.

MicrophoneA device used to convert sound to an electrical impulse so it can be recorded.

Musical TrackThe music track contains the musical score composed for the film.

Non-linear EditingDigital editing allows clips, images, music, etc. to be moved in and out of sequence.

Optical ZoomA lense that actuall travels in the lense barrel to increase or decrease the field of view. Retains itsimage quality.

PlotA series of events which create the story or narrative of the movie.

RhythmA principle of composition which uses the repetion of imagery and sound to create a pace or tempoin the film. Both the sound and the editing will create rhythm.

SceneA shot or series of shots in one setting or involved in the same action.

SequenceA series of images or clips held together with a common purpose. Typically, all of the shots in onesequence take place in the same setting.

Script or ScreenplayThe written "recipe" for the film with scene descriptions and dialogue.

ShotThe recorded imagery between the time the record button is pressed until it is stopped.

Shot ListA linear schedule of shots with notations and time frames.


SoundtrackThe audio part of the movie containing dialogue, sound effects and music.

Special Effects (FX)An effect imposed on a clip to give it an unrealistic or surrealistic feel. Can be created in camera or ina digital editing program.

StoryboardIn the process of planning a film the camera work is often depicted scene by scene. Story-boardsare an overall, general depiction of the entire filming sequence showing the artistic choices forcamera angle, camera movement and framing.

SynchingAligning imagery with sound in the editing process.

TakeA continuous recording of a shot or scene.

TimelineIn a digital video editing program, this is where the clips are arranged in a linear manner.

TitleCommunicates the name of the film and usually the big stars, producer and director. Can be done ina creative way to make it interesting.

TransitionThe way one clip leadds into another such as fade, cut, and dissolve.

TreatmentA short overview of what the film is about and how it will be made.

TripodA three-legged stand to mount a camera on for stability and support. Good for smooth pan and tiltcamera movements.

Types of shots

One Shot- one personTwo shot – two peopleGroup shot – more than threeCrowd shot – more than ten

Over the Shoulder (OTS shot)Over the shoulder shot allows viewer to feel that they are a third part observer of the scene.

Point of View (POV shot)A subjective view assumed by the camera which is understood to representthe subject's point of view the scene through their eyes.


Loose framingIncludes a lot of space around the subject.

Tight framingA well enclosed subject with little space around them.

Head Room / Walking RoomOff centering the subject to allow for the gaze or movement of a subject.

VideoCapturing imagery using an electronic signal either onto magnetic tape or a digital CCD.

Voice-overVoices recorded and added to the movie after it has been shot.

White BalanceOn a video camera the white balance controls the light's colour temperature.


Unit 2 Description - Artistic Vision (Approximately 25 hours)

Students will survey and analyze how noted film directors, artistic directors, cinematographers,andset designers use visual and auditory elements to create a composition that is coherent and reflectsthe films character. Through an in-depth study of Mise en Scene students will gain knowledge andskills in set design, lighting, framing and staging. They will also look at post production techniquesthat are used to transition between scenes or to add special effects to a sequence or scene.Students will create a movie trailer for a famous artwork, and a sensory based video short that usesthe techniques and stylization of a famous director.


A1. The Creative Process: apply the creative process to createa variety of artworks, individually and/or collaboratively;A1.1 use various strategies, individually and/or collaboratively,with increasing skill to generate, explore, and elaborate onoriginal ideas and to develop, reflect on, and revise detailed plansfor the creation of art works that address a variety of creativechallengesA1.2 apply, with increasing fluency and flexibility, the appropriatestages of the creative process to produce two- and three-dimensional art works using a variety of traditional andcontemporary mediaA1.3 document their use of each stage of the creative process,and provide evidence of critical inquiry, in a portfolio that includesa range of art works created for a variety of purposes and reviewand reflect on the contents of their portfolio to determine howeffectively they have used the creative process

A2. The Elements and Principles of Design: apply theelements and principles of design to create art works for thepurpose of self-expression and to communicate ideas,information, and/or messages;A2.1 apply the elements and principles of design with increasingskill and creativity to produce two- and three-dimensional artworks that express personal feelings and communicate specificemotionsA2.2 apply the elements and principles of design as well as awide range of art-making conventions with increasing skill andcreativity to produce art works that comment and/or communicatea clear point of view on a variety of issues

A3. Production and Presentation: produce art works, using avariety of media/materials and traditional and emergingtechnologies, tools, and techniques, and demonstrate anunderstanding of a variety of ways of presenting their works andthe works of others.

Learning Goals:

• review theirknowledge of postproduction techniquesto create a movietrailer for a famousartwork

• examine mise enscene (elements oflighting, framing, setdesign, staging), andpost productiontechniques to gain anunderstanding of howthey are used tosupport the artisticvision of the director.

• analyze the movies offamous directors tosee how he/sheutilized mise en sceneand post productiontechniques to supportthe mood of a film.

• create a sensorybased video shortusing the technique ofa famous director.


A3.1 use with increasing skill a wide variety of media, includingalternative media, and current technologies to create two- andthree-dimensional art works for a variety of purposesA3.2 use with increasing skill a wide variety of traditional andcurrent materials, technologies, techniques, and tools to createoriginal art works for a variety of purposes and audiencesA3.3 demonstrate a understanding of the appropriate standardsand conventions for presenting art works for a variety of purposesand apply these standards and conventions when preparingvarious types of visual art works for presentationA3.4 demonstrate an understanding of curatorial considerations,including those relating to the purpose of and audience for anexhibition, and explain the impact curatorial judgements canhave on a collection of art works

B1. The Critical Analysis Process: demonstrate anunderstanding of the critical analysis process by examining,interpreting, evaluating, and reflecting on various art works;B1.1 demonstrate the ability to support their initial responses to avariety of art works with informed understanding of the works’artistic form and functionB1.2 deconstruct with increasing skill and insight the visualcontent and the use of elements and principles of design in theirown art work and the work of othersB1.3 explain in detail, with reference to a variety of historical andcontemporary art works how knowledge of a work’s cultural andhistorical context, achieved through extensive research, hasclarified and enriched their understanding and interpretation of awork’s intent and meaningB1.4 describe in detail and reflect on with increasing insight thequalities of their art works and the works of others, and evaluatethe effectiveness of these works using a wide variety of criteria

B2. Art, Society, and Values: demonstrate an understanding ofhow art works reflect the societies in which they were created,and how they can affect both social and personal values;B2.1 analyse, on the basis of research, the function and socialimpact of different kinds of art works in both past and presentsocietiesB2.2 assess the impact of socio-economic, political, cultural, and/or spiritual factors on the production of art worksB2.3 assess the impact that the creation and analysis of art workshas had on their personal identity and values and theirperceptions of society

Key Questions:How can post productiontechniques be used to heightena particular action, sensation, orfeeling in a film?

How do filmmakers create aparticular mood or ambiance fora film?

What factors, outside ofcharacters and dialogue supporta particular mood or feeling to afilm?

Prior Learning:

post production techniques andnon-linear video editing skills


B3. Connections Beyond the Classroom: demonstrate anunderstanding of and analyse the requirements for a variety ofopportunities related to visual arts.B3.2 identify, on the basis of research, and assess a variety ofopportunities in their communityB3.3 analyse a variety of local, national, and global arts-basedadvocacy organizations with reference to the type of work theydo, their effectiveness, and the possibility of students’ workingwith them or receiving funding from them for involvement in thearts

C1. Terminology: demonstrate an understanding of, and usecorrect terminology when referring to, elements, principles, andother components related to visual arts;C1.1 extend their understanding of the elements and principles ofdesign, and use terminology related to these elements andprinciples correctly and appropriately when creating or analysinga variety of art worksC1.2 explain in detail terminology related to a wide variety oftechniques, materials, and tools and use this terminologycorrectly and appropriately when creating, analysing, and/orpresenting art worksC1.3 explain in detail the stages of the creative process and thecritical analysis process, and explain, using appropriateterminology, how these processes contribute to the successfulcreation and analysis of art works

C2. Conventions and Techniques: demonstrate anunderstanding of conventions and techniques used in the creationof visual art works;C2.1 extend their understanding of a wide variety of techniquesthat artists use to achieve a range of specific effectsC2.2 extend their understanding of the variety of conventionsused in visual art and explain in detail how they are used in avariety of art works

C3. Responsible Practices: demonstrate an understanding ofresponsible practices in visual arts.C3.1 demonstrate an understanding of legal and ethical issuesrelated to the appropriation of virtual, intellectual, or physicalproperty and apply legal and ethical practices when creating anddisplaying art work

Assessment for and ofLearning:

Lesson #1

From a list of the key elementsof a successful trailer, theteacher and the students willdevelop a checklist for theassessment of the finishedtrailer. Students will use theirProcess Journal to reflect onthe success of their trailer andreport what went well and whatcould be improved.



Lesson #1: Masterpiece Trailers

Teacher will:• preview a number of film trailers to exemplify: the rapid

pace of the editing; use of a non-linear timeline; extremeuse of framing; and the inclusion of narrative informationabout the film, the cast, and the production company.

• lead a discussion as to the essential components of asuccessful movie trailer: the skill of editing, the use offraming, the pace of the trailer, the building of tension withsound, the information revealed about the painting, thecharacters, and who is responsible for making the film

• summarize that a trailer is a series of frames andsequences that have been edited together in a way thatusually gives the audience pieces of information aboutthe plot, the characters and the genre of the movie (seeGlossary). The advantage that the creators of the trailersthat we see in theatres is that the movie was alreadyshot, and they had all of the film footage to work with. Inthis task, students will create a movie trailer, withouthaving shot the movie

• show the class a number of famous artworks chosen bythe teacher for their strong emotive content (eg. The Thirdof May, Raft of the Medusa, The Night Watch, LasMeninas - the possibilities are endless). Teacherprompts: What is the mood of this artwork? W is thisartwork known for? What is unique or special about it?How could you highlight this aspect in a "moving"

format? How might you be able to add the element of"time" to this 2-dimensional work?

• arrange the class into groups of 3-5 students. They willreview the artworks, and decide which artwork they willuse as the subject of their trailer. They should conduct abit of research to determine the historical context of thework

• explain the expectations for the creative process, and willconference with the students to provide feedbackthroughout:

◦ research information◦ make decisions about which information to

include to entice viewer into wanting to "see themovie"

◦ develop a rough outline for their movie

Lesson #2

The three-column chart shouldbe submitted and assessed byusing a feedback and commentsheet.


◦ create paper frames (individual storyboards) andsequences; demonstrate different crops/framingfrom the original painting on each

◦ keep purpose in mind - to create a fast pacedtrailer with a dramatic soundtrack/narrative

◦ rearrange single frame storyboards into differentsequences until the group is satisfied with thepace and flow

◦ suggestion: start at the end of the trailer,introduce the plot and end with a climax point;fill in the middle of the trailer with clips that

follow the planned narration or dialogue◦ the dialogue and narration can be as powerful as

a fast-paced sequence◦ when the paper sequence (storyboard) is

complete, the students can begin editingaccording to their plan

• share the requirements of the trailer with the students:◦ 1 minute max.◦ story-board◦ non-linear◦ extreme use of framing◦ narrative information◦ text information; credits (name, artwork,

soundtrack, group members)◦ dramatic soundtrack◦ self-reflection in process journal

• work with students to co-construct a rubric for successincluding the requirements as outlined above

• screen the trailers and critique

Lesson #2 - Setting the Stage: Mise en Scene

Teacher will:• introduce the elements of Mise en Scene through a series

of video clip screenings, showing specific scenes thatexemplify the use of lighting, framing (depth of field,aspect ratio, and perspective), colour, production/setdesign, movement (blocking), casting, makeup, anddiegetic sound

• preview a number of films and choose scenes thatexemplify one of the elements of Mise en Scene. Afterviewing each selection students are asked to respond tothe following questions: What things stood out in thescene? What type of feeling did you get from viewing thescene? Explain why you felt this way by referring to thingsin the scene.

Lesson #3

The teacher could develop arubric for the grouppresentation, handout, andgroup discussion, or couldprovide constructive feedbackby using a Blank SheetCritique. Each member of thegroup should also providesome type of feedback andreflection as to how successfulthey were, and how themembers functioned as agroup.


• encourage feedback and discussion about the viewedscene. The teacher will refer back to the scene anddiscuss the use of the element of Mise en Scene that he/she chose it for (see first point, above)

• have the students record the information on the DirectorAnalysis Chart (see appendix AWR4M 2:1 DirectorAnalysis BLM) - a blank, 3-column chart with headings forElement, Movie/Scene and Description. As the teachergoes through the series of scenes students will respondto the questions, then fill in the information in the chart.After all of the scenes have been shown the students willhave a chart listing elements of mise en Scene and givingat least one example of each

Lesson #3 - Study of Famous Directors Use of Mise en Scene

Teacher will:• review the use of lighting, framing, staging, and post

production effects as they pertain to mise en scene andthe creation of mood and coherence in a film

• share a list of famous film directors who are noted forusing highly developed mise en scenes.

• arrange the students in small groups (2-4 per group).Each group will choose a famous director from the list to

determine how he/she utilized cinema-graphic effectssuch as mise en scene and post production techniques totell their story. Each group should have access to a leasttwo films by their chosen director. Note: In cases wherestudents are viewing and analyzing films it is ideal if theteacher has a small classroom library of films for studentsto use rather than having students rent films. For thistask, the teacher could include only directors films forwhich they could access. Some students may haveaccess to personal libraries.

• instruct students in the groups to view each film, orselected scenes from each film, and describe the ways inwhich the director created the mood/feel/environment

• distribute the Director Analysis Chart (see appendixAWR4M 2:1 Director Analysis BLM), and have thestudents identify specific scenes and record informationunder the following headings: Physical Set, Lighting,Color, Framing, Depth of Field, Movement and Blocking,Diegetic Sound (sound from the scene), and PostProduction Transitions and Special effects

• have each group conduct a short and concise researchactivity into the possible influences on the director(Teacher prompts: Was the film based on a novel? Doesit fit into a specific film-making approach? Is it within a

Lesson #4

The teacher and the studentswill co-create a rubric prior tothe beginning of the task. Itshould include assessment fortechnical proficiency, the use ofmultiple shooting and postproduction techniques, conceptand storyboarding, whether it issuccessful in being a sensorybased work, presentation (bothpre-shooting and finishedproduct), and group work.


certain genre? etc.) The group will use the information tocomplete a good copy of the chart that will be used as ahand-out during their presentation. If groups are able toview a number of films by the same director, they canalso gather information on the similarities and differencesbetween the use of the elements of mise en scene andpost production techniques.

• provide assignment requirements - each group will:◦ present their findings by sharing one or two short

clips of the films they analyzed◦ prepare a handout with film identification and

details of their research and observations◦ provide feedback and personal reflection as to

the successes of the group, individuals androom for improvement

• have students fill in the blanks of their comparison chartfor the various directors and films

• lead a class discussion on the similarities and differencesamong the directors and films

• develop a rubric for the group presentation, handout, andgroup discussion, or could provide constructive feedbackby using a blank sheet critique strategy

Lesson #4: Make Sense of This!

Teacher will:• introduce a number of short videos that are meant to

impact on the viewers' senses (the NFB web site is agood resource). Video artists such as Carsten Nicolai andmultimedia artists such as Laurie Anderson, Philip Glass,and Kraftwerk also have material available online

• lead a class discussion about the student reaction to thevideos, with students responding to what type ofsensation they experienced when viewing each of thevideos. (Teacher prompts: How did the video make youfeel? Did the video play on one or more of your senses?How would you describe what the video was about?)

• lead the class in a review of the directors that theystudied in Lesson #3 of this unit

• arrange the students into small groups, students willchoose a director who has a recognizable style and wayof shooting that they can mimic during the creation of ashort, sensory-based video. Students should considerboth the visual and audio elements when choosing thestyle of a director

• ask the student groups to brainstorm for a concept andpossible content of the video. The video can be moreabstract or it could be based on a real-life scenario

Performance Tasks forEvaluation:

Lesson #4Students will be evaluated ontheir mastery of all stages ofthe film making process forthe "Make Sense of This!"assignment.Teacher will provide guidedsuccess criteria to co-constructa rubric for the evaluation ofthis performance task.

DI

Extensions


• provide students with handouts: Concept Storyboard(Mise En Scene); Storyboard Detailed (see AppendicesAWR4M 2:2 Concept Storyboard (MES) BLM andAWR4M 2:3 Storyboard Detailed)

• outline the following parameters for the video:◦ a variety of camera shots, framing, and editing

techniques◦ multiple audio tracks and sources◦ the elements of mise en scene (as noted in

lesson #1)◦ camera movement, framing, colour, depth of

field, transitions, and ambient and overlaidsound elements

◦ develop a written overview of their video◦ followed by a more detailed storyboard that

includes both visual and audio notation◦ opening or title scree as well as credit screens

• conference with each group during the creative process,offering suggestions and feedback

• encourage the groups to share their progress midwaythrough the process, making short presentations of theirstoryline, storyboards, and the techniques they plan touse. Constructive feedback from their classmates in theform of questions or suggestions should be considered,and any revisions should be made before shooting.

• tell the students that the finalized storyboard should befollowed as closely as possible during the shooting andproduction stages

• decide on how the finished videos will be presented,either projected individually or viewed on a series ofcomputers

• provide guided success criteria to co-construct a rubric forthe evaluation of this performance task

Support Materials &Resources

http://www.nfb.ca/trailers/

Borden, Daniel, et. al, Film: AWorld History 2008Dixon, Wheeler W. A ShortHistory of Film, 2008Platt, Richard. Eyewitness:Film, 2000

Rausch, Andrew J. TurningPoints in Film History, 2004

Appendices:

AWR4M 2:1 Director AnalysisChart BLMAWR4M 2:2 ConceptStoryboard (MES) BLMAWR4M 2:3 Storyboard:Detailed



Glossary of Terms

CinematographyThe art of using lights and cameras for motion pictures.

CompositionComposition entails the complete arrangement of a scene. The process includes camera angles,framing, lighting, movement, and staging.Composition is in the hands of the director and often becomes a director’s signature.

Conceptual IllustrationAn illustration which gives visual representation to a scene or movie in terms of costume, set,lighting, props etc.

ContinuityMost scenes in motion pictures are filmed out of sequence. The continuity of a film refers to thesequential development and consistency of the story-line and images. For example a scene thatrequires numerous takes shot on different days should keep the same lighting and costume.

DirectingDirecting is the art of arranging all the action being filmed during the production of a movie andmaking certain that the action and the spoken word relate to the content and context of thescreenplay. It is the Director's guidance that brings together all of the aspects of filmmaking -- sound,light and action -- into a uniform whole.

EditingOrganizing all the components of a film, such as images, clips, sound and title/credits into a a wholevideo.


FilmLoosely refers to a motion picture. Specifically, the celluloid material used in traditional filmmaking.

FocusAdjusting the lense to create a sharp or unsharp image as required.

Genreoriginally a French word meaning "kind", "sort" or "type"; refers to a class or type of film (i.e.,westerns, sci-fi, etc.) that shares common, predictable or distinctive artistic and thematic elements oriconography (e.g., bad guys in Westerns wear black hats), narrative content, plot, and subjectmatter, mood and milieu (or setting) or characters.


LightingThe art of manipulating light and shadow to create the desired mood in a film. High Key lightingwashes the scene with bright lights while Low Key lighting works with dim light and emphasizesshadows.

Line of ActionAn imaginary line that separates the camera from the scene. The camera should never go over thisline.

LocationA set where a movie is filmed that already exists.

Mise-en-sceneThe elements within a frame such as lighting, movement, staging and costume which establish theoverall mood.


SceneA shot or series of shots in one setting or involved in the same action.

SequenceA series of images or clips held together with a common purpose. Typically, all of the shots in onesequence take place in the same setting.

ShotThe recorded imagery between the time the record button is pressed until it is stopped.

Shot ListA linear schedule of shots with notations and time frames.


StoryboardIn the process of planning a film the camera work is often depicted scene by scene. Storyboards arean overall, general depiction of the entire filming sequence showing the artistic choices for cameraangle, camera movement and framing.

TransitionThe way one clip leads into another such as fade, cut, and dissolve.

TreatmentA short overview of what the film is about and how it will be made.


Unit 3 Description - Narrative Vision (Approximately 25 hours)

The art of documentary film making will be explored in this unit. Students will discover the differencesbetween documentary and fictional film. They will also understand the various intentions andapproaches used by documentary filmmakers. The notion of bias and point of view will also bediscussed. Students will work individually to create a short documentary which is structured aroundone question. In production groups, students will produce a 5-10 minute documentary of a chosentopic with a narrative structure.


A1. The Creative Process: apply the creativeprocess to create a variety of artworks, individuallyand/or collaboratively;A1.1 use various strategies, individually and/orcollaboratively, with increasing skill to generate,explore, and elaborate on original ideas and todevelop, reflect on, and revise detailed plans forthe creation of art works that address a variety ofcreative challengesA1.2 apply, with increasing fluency and flexibility,the appropriate stages of the creative process toproduce two- and three-dimensional art worksusing a variety of traditional and contemporarymediaA1.3 document their use of each stage of thecreative process, and provide evidence of criticalinquiry, in a portfolio that includes a range of artworks created for a variety of purposes and reviewand reflect on the contents of their portfolio todetermine how effectively they have used thecreative process

A2. The Elements and Principles ofDesign: apply the elements and principles ofdesign to create art works for the purpose of self-expression and to communicate ideas,information, and/or messages;A2.1 apply the elements and principles of designwith increasing skill and creativity to produce two-and three-dimensional art works that expresspersonal feelings and communicate specificemotionsA2.2 apply the elements and principles of designas well as a wide range of art-making conventionswith increasing skill and creativity to produce art

Learning Goals:

◦ distinguish the differencesbetween documentary andfictional film.

◦ understand the variousintentions and approachesused by documentaryfilmmakers.

◦ create a short documentarywhich is structured aroundone question that is asked ofmany different people andedited into a one minute film.

◦ produce a 5-10 minutedocumentary around aspecific chosen topic with adocumentary narrativestructure.


works that comment and/or communicate a clearpoint of view on a variety of issues

A3. Production and Presentation: produce artworks, using a variety of media/materials andtraditional and emerging technologies, tools, andtechniques, and demonstrate an understanding ofa variety of ways of presenting their works and theworks of others.A3.1 use with increasing skill a wide variety ofmedia, including alternative media, and currenttechnologies to create two- and three-dimensionalart works for a variety of purposesA3.2 use with increasing skill a wide variety oftraditional and current materials, technologies,techniques, and tools to create original art worksfor a variety of purposes and audiencesA3.3 demonstrate a understanding of theappropriate standards and conventions forpresenting art works for a variety of purposes andapply these standards and conventions whenpreparing various types of visual art works forpresentationA3.4 demonstrate an understanding of curatorialconsiderations, including those relating to thepurpose of and audience for an exhibition, andexplain the impact curatorial judgements canhave on a collection of art works

B1. The Critical Analysis Process: demonstratean understanding of the critical analysis processby examining, interpreting, evaluating, andreflecting on various art works;B1.1 demonstrate the ability to support their initialresponses to a variety of art works with informedunderstanding of the works’ artistic form andfunctionB1.2 deconstruct with increasing skill and insightthe visual content and the use of elements andprinciples of design in their own art work and thework of othersB1.3 explain in detail, with reference to a variety ofhistorical and contemporary art works howknowledge of a work’s cultural and historicalcontext, achieved through extensive research, hasclarified and enriched their understanding andinterpretation of a work’s intent and meaning

Key Questions:

How are documentary films different from othertypes of film?

What are the different types of documentaryfilm?

How can messages be communicated throughthe structure of narrative documentary film?


B1.4 describe in detail and reflect on withincreasing insight the qualities of their art worksand the works of others, and evaluate theeffectiveness of these works using a wide varietyof criteria

B2. Art, Society, and Values: demonstrate anunderstanding of how art works reflect thesocieties in which they were created, and howthey can affect both social and personal values;B2.1 analyse, on the basis of research,the function and social impact of different kinds ofart works in both past and present societiesB2.2 assess the impact of socio-economic,political, cultural, and/or spiritual factors on theproduction of art worksB2.3 assess the impact that the creation andanalysis of art works has had on their personalidentity and values and their perceptions of society

B3. Connections Beyond theClassroom: demonstrate an understanding of andanalyse the requirements for a variety ofopportunities related to visual arts.B3.1 analyse, on the basis of self-directedresearch, the requirements for postsecondarystudy and for careers of personal interest in arts-related fieldsB3.2 identify, on the basis of research, and assessa variety of opportunities in their communityB3.3 analyse a variety of local, national, andglobal arts-based advocacy organizations withreference to the type of work they do, theireffectiveness, and the possibility of students’working with them or receiving funding from themfor involvement in the arts

C1. Terminology: demonstrate an understandingof, and use correct terminology when referring to,elements, principles, and other componentsrelated to visual arts;C1.1 extend their understanding of the elementsand principles of design, and use terminologyrelated to these elements and principles correctlyand appropriately when creating or analysing avariety of art works

Prior Learning:

Narrative structure and film making process


C1.2 explain in detail terminology related to a widevariety of techniques, materials, and tools and usethis terminology correctly and appropriately whencreating, analysing, and/or presenting art worksC1.3 explain in detail the stages of the creativeprocess and the critical analysis process, andexplain, using appropriate terminology, how theseprocesses contribute to the successful creationand analysis of art works

C2. Conventions and Techniques: demonstratean understanding of conventions and techniquesused in the creation of visual art works;C2.1 extend their understanding of a wide varietyof techniques that artists use to achieve a range ofspecific effectsC2.2 extend their understanding of the variety ofconventions used in visual art and explain in detailhow they are used in a variety of art works

C3. Responsible Practices: demonstrate anunderstanding of responsible practices in visualarts.C3.1 demonstrate an understanding of legal andethical issues related to the appropriationof virtual, intellectual, or physical property andapply legal and ethical practices when creatingand displaying art workC3.2 demonstrate appropriate health and safetyprocedures and conscientious practices in theselection and use of various materials, techniques,tools, and technologies when producing orpresenting art worksC3.3 explain how art works can have both apositive and negative impact on the environment

Assessment for and of Learning:

Lesson #1

The T-Chart should be collected and assessedwith written descriptive feedback.

Lesson #2

The videos will be presented and peer/teacherfeedback given after each film. Teacherprompt: What are we looking for in thesedocumentaries? (For example, structurebuilds to a climax, editing creates an effectiverhythm, sound is clear and video maintainsaudience interest.) Students should concludethe assessment with a self-reflective journalentry and then submit the process journal forwritten descriptive feedback from the teacher.

Lesson #3

Prior to viewing the group films as a class, theteacher and students will co-create theindicators of success based on the knowledgeand skills students have gained from theexperience. Students will present their video tothe class with class members participating in aclass critique.



Lesson #1 - Tell it like it is!

The teacher will:• lead a discussion to determine students'

prior knowledge of documentaries;(students share titles of documentariesthey've seen, purpose, styles &approaches of filmmakers, subject matteretc.)

• show a short documentary film (seeresources for suggestions) and havestudents make notes in small groups on aplace-mat format of how this type of film isdifferent from fictional films (Teacherprompts: what is unique about the"characters"? the settings? the subjectmatter? What is the intent of thefilmmaker? What bias do yourecognize?)

• have each group prepare a brief summaryto be presented to the class and discusstheir findings

• record and post the summaries

*Note regarding teacher preparation: preview andselect different types of short documentaries orclips from longer films for class screening. Thereare a large number of documentary films availablefor free screening on the websites listed in theresources at the end of this unit. It is valuable topre-screen a number of these so students can begiven some direction in their selection of films toview.

• teach the students about the purposes ofdocumentary film-making (According toMichael Renov, (Theorizing Documentary.New York. Routledge, 1993) the mainintentions of documentary film are: torecord, reveal or preserve; to persuade orpromote; to analyze or interrogate; and toexpress

• create a large chart with these purposesas headings. Record the titles of

Performance Tasks for Evaluation:

Lesson #3 - Everyone Has a Story

Students will create a 5-10 minutedocumentary on a topic of relevance andinterest to the students. They will work ingroups and document their creative process inthe Process Journal. Both the final product andthe process will be evaluated using a teacher/student co-constructed rubric.


documentaries that fit each category asthey are viewed for analysis. Some filmsmay be appropriate for more than oneheading.

• teach the students about the styles andapproaches of documentary film-makers.There are many different types of

documentary films that use a variety ofstyles and approaches to their subjectmatter. Bill Nichols (Introduction toDocumentary. Bloomington, Indiana:Indiana University Press, 2001)categorizes the different approaches todocumentary as: essay style;observational style; participatory; reflexiveand performative. (see resource page formore detail).

• instruct the students to use a T-Chartformat and have students view a numberof films on-line and document theirreaction. This activity will inspire the nexttasks in the unit.

Lesson #2 - The Big Question

Teacher will:• share clips from any number of short films

with this type of structure to inspire thisassignment.

• instruct students to work individually togenerate ideas for the assignment andshould keep a process journal. In thejournal the student will prepare a numberof possible questions for the subject of thefilm and then select the two they think aremost promising.

• arrange the students into groups of threeand share their questions to generate peerfeedback. In the peer feedback, studentsshould discuss the suitability of thequestion for the school environment;making sure it will not offend anyone;predict what people's reaction to thequestion would be; and whether or not thequestion would generate enough variety tomake an interesting, one-minute film

• tell students to react to the peer feedbackand make a decision about what question

DI

The teacher and the student should agreeupon both a topic and a format for thedocumentaries which suites both the student'sinterests and abilities.


to use in a self-reflective entry in theirjournal.

• conference with students about theefficacy of their question, and approvetopics when they are ready to proceed

Any type of video camera could be used includingcell phones or still image camera with videorecording. Sound will need to be monitored.Students should ensure the video camera is closeenough to clearly record subject's voice and notpick up too much ambient sound. Students willkeep to within the school or home environment tofilm. Student safety should be stressed. Once alarge number of people have responded to thequestion then the editing process will begin. Usingdigital video editing software, the footage will beedited to generate the desired rhythm and mood.Narrative structure should be discussed; anintroduction to topic, a building up of tension, aclimax (punchline) and then resolution.

Lesson #3 - Everyone Has a Story

Teacher will:• lead a discussion on the potential topics

for documentaries. The subject should besomething that is relevant and studentshave an interest in but appropriate for theschool environment. A suggested topic isconcern for the environment. Al Gore's"An Inconvient Truth" or any movie byMichael Moore can be viewed and point ofview/bias discussed.

• arrange students into production groups of4-5 students who will

◦ develop a name for theproduction company

◦ work through the creativeprocess and document theirprogress in a journal

◦ generate ideas for thedocumentary, conference withthe teacher, and select one

• approve topic choices and send thegroups off to plan the video with ashooting script (see appendix AWR4M 3:1

Extensions

As an extension, students can find adocumentary student film festival and entertheir film. This should be encouraged to assiststudents in having their film extend beyond theclassroom and school environment. (seeresources for possible student documentaryfilm festivals)


Shooting Script BLM) and storyboards ofthe main shots

• review with students, where necessary,the steps to completing a shooting scriptand/or storyboard

• ask the group members to rotate throughthe various roles such as camera person,sound person, director, lighting etc.

• instruct that during the Post-productionstage, editing, transitions and soundshould be completed as a group

• tell the students that the finalizedstoryboard should be followed as closelyas possible during the shooting andproduction stages

• decide on how the finished videos will bepresented, either projected individually orviewed on a series of computers

• provide guided success criteria to co-construct a rubric for the evaluation of thisperformance task

Support Materials & Resources

http://www.hotdocs.caHot Docs site with free film library andexcellent educational support

http://www3.nfb.ca/objectifdocumentaire/index.php?mode=about&language=englishNFB's Documentary Lens site

Aufderheide, Patricia. Documentary Film, AVery Short Introduction, 2007

Rabiger, Michael. Directing the Documentary,2004

Appendices:

AWR4M 3:1 Shooting Script BLM



http://www.hotdocs.ca/

http://www3.nfb.ca/objectifdocumentaire/index.php?mode=about&language=english

http://www3.nfb.ca/objectifdocumentaire/index.php?mode=about&language=english

Glossary of Terms

Ambient SoundAmbient sound is background noise that is provided by the "natural" environment.If this sound were not present in the projection of a particular scene -- specifically a scene in whichthe only sound is dialogue -- the scene would sound hollow and empty to the audience. Theenvironmental noises can be recorded by a separate microphone during filming or may be added bythe foley artists in the remix of the scene.

BoomA mirophone placed on a long pole. Used to pick up sound in the scene but must not be seen by thecamera.

DocumentaryA film that is not fictional. Usually factual and investigative in nature.

DubbingIn the film industry dubbing refers to the addition of sound effects, music, and dialogue on top of thatwhich has already been recorded. Dubbing also indicates the addition of the complete dialogue overthe original dialogue track in a foreign film.


MicrophoneA device used to convert sound to an electrical impulse so it can be recorded.

NarrativeA story structure that usually involves an introduction to a situation, a series of events and aconclusion.

Point of ViewThe perspective from which a story is told.

TakeA continuous recording of a shot or scene.

Voice-overVoices recorded and added to the movie after it has been shot.


Unit 4 Description - Experimental Vision (Approximately 35 hours)

This unit addresses non-narrative video art production and explores contemporary and post modernart practices. The teacher will introduce students to Canadian and international artists who use videoprojection based installation as their chosen artistic medium. Students will showcase theirunderstanding of camera work by creating a storyboard illustration. Students will work in small artistcollectives to complete a non-linear and non-narrative video art piece based on a common themeagreed upon by the class. The group videos will then be brought together to produce a longer classfilm. Students will be challenged to create a video installation by manipulating a space and/or surfaceto view the film.


A1. The Creative Process: apply the creative process to createa variety of artworks, individually and/or collaboratively;A1.1 use various strategies, individually and/or collaboratively,with increasing skill to generate, explore, and elaborate onoriginal ideas and to develop, reflect on, and revise detailed plansfor the creation of art works that address a variety of creativechallengesA1.2 apply, with increasing fluency and flexibility, the appropriatestages of the creative process to produce two- and three-dimensional art works using a variety of traditional andcontemporary mediaA1.3 document their use of each stage of the creative process,and provide evidence of critical inquiry, in a portfolio that includesa range of art works created for a variety of purposes and reviewand reflect on the contents of their portfolio to determine howeffectively they have used the creative process

A2. The Elements and Principles of Design: apply theelements and principles of design to create art works for thepurpose of self-expression and to communicate ideas,information, and/or messages;A2.1 apply the elements and principles of design with increasingskill and creativity to produce two- and three-dimensional artworks that express personal feelings and communicate specificemotionsA2.2 apply the elements and principles of design as well as awide range of art-making conventions with increasing skill andcreativity to produce art works that comment and/or communicatea clear point of view on a variety of issues

A3. Production and Presentation: produce art works, using avariety of media/materials and traditional and emergingtechnologies, tools, and techniques, and demonstrate an

Learning Goals:

By the end of this unit studentswill be able to:

• use the criticalprocess to develop anappreciation of howvideo can be used asan experimentalartistic medium.

• create a storyboardusing the camera in anexperiemntal tool tocommunicate an ideaor concept

• transfer theirknowledge and skillsfrom the storyboard toa video art piececoncerned with aspecific concept whileworking in a group orartist collective

• produce and present avideo installation as anartist collective bycreating a surfaceand/or space toproject their videoshort from theprevious task.


understanding of a variety of ways of presenting their works andthe works of others.A3.1 use with increasing skill a wide variety of media, includingalternative media, and current technologies to create two- andthree-dimensional art works for a variety of purposesA3.2 use with increasing skill a wide variety of traditional andcurrent materials, technologies, techniques, and tools to createoriginal art works for a variety of purposes and audiencesA3.3 demonstrate a understanding of the appropriate standardsand conventions for presenting art works for a variety of purposesand apply these standards and conventions when preparingvarious types of visual art works for presentationA3.4 demonstrate an understanding of curatorial considerations,including those relating to the purpose of and audience for anexhibition, and explain the impact curatorial judgements canhave on a collection of art works

B1. The Critical Analysis Process: demonstrate anunderstanding of the critical analysis process by examining,interpreting, evaluating, and reflecting on various art works;B1.1 demonstrate the ability to support their initial responses to avariety of art works with informed understanding of the works’artistic form and functionB1.2 deconstruct with increasing skill and insight the visualcontent and the use of elements and principles of design in theirown art work and the work of othersB1.3 explain in detail, with reference to a variety of historical andcontemporary art works how knowledge of a work’s cultural andhistorical context, achieved through extensive research, hasclarified and enriched their understanding and interpretation of awork’s intent and meaningB1.4 describe in detail and reflect on with increasing insight thequalities of their art works and the works of others, and evaluatethe effectiveness of these works using a wide variety of criteria

B2. Art, Society, and Values: demonstrate an understanding ofhow art works reflect the societies in which they were created,and how they can affect both social and personal values;B2.1 analyse, on the basis of research, the function and socialimpact of different kinds of art works in both past and presentsocietiesB2.2 assess the impact of socio-economic, political, cultural, and/or spiritual factors on the production of art worksB2.3 assess the impact that the creation and analysis of art workshas had on their personal identity and values and theirperceptions of society

Key Questions:

How have contemporary artistsused experimental video tocommunicate their message?

How does the manner in whicha video is presented orprojected affect the meaning?

Prior Learning:

Storyboarding and film makingprocess


B3. Connections Beyond the Classroom: demonstrate anunderstanding of and analyse the requirements for a variety ofopportunities related to visual arts.B3.1 analyse, on the basis of self-directed research, therequirements for postsecondary study and for careers of personalinterest in arts-related fieldsB3.2 identify, on the basis of research, and assess a variety ofopportunities in their communityB3.3 analyse a variety of local, national, and global arts-basedadvocacy organizations with reference to the type of work theydo, their effectiveness, and the possibility of students’ workingwith them or receiving funding from them for involvement in thearts

C1. Terminology: demonstrate an understanding of, and usecorrect terminology when referring to, elements, principles, andother components related to visual arts;C1.1 extend their understanding of the elements and principles ofdesign, and use terminology related to these elements andprinciples correctly and appropriately when creating or analysinga variety of art worksC1.2 explain in detail terminology related to a wide variety oftechniques, materials, and tools and use this terminologycorrectly and appropriately when creating, analysing, and/orpresenting art worksC1.3 explain in detail the stages of the creative process and thecritical analysis process, and explain, using appropriateterminology, how these processes contribute to the successfulcreation and analysis of art works

C2. Conventions and Techniques: demonstrate anunderstanding of conventions and techniques used in the creationof visual art works;C2.1 extend their understanding of a wide variety of techniquesthat artists use to achieve a range of specific effectsC2.2 extend their understanding of the variety of conventionsused in visual art and explain in detail how they are used in avariety of art works

C3. Responsible Practices: demonstrate an understanding ofresponsible practices in visual arts.C3.1 demonstrate an understanding of legal and ethical issuesrelated to the appropriation of virtual, intellectual, or physicalproperty and apply legal and ethical practices when creating anddisplaying art workC3.2 demonstrate appropriate health and safety procedures andconscientious practices in the selection and use of various

Assessment for and ofLearning:

Lesson # 1

Check for understanding byproviding formative assessmentof the magazine scavengerhunt assignment. Peer andteacher descriptive feedbackcould be provided if the lessonis extended to include a briefreport on an individual artist.

Lesson #2

As a summative evaluation,students should be madeaware of the indicators ofsuccess prior to beginning thestoryboard and forming theartist collective. The teachershould provide an evaluationrubric for the individualstoryboard and the group videoproduction. This could be ateacher/student co-constructedrubric. The storyboard shouldprovide students with theopportunity to show theirmastery of camera work,(camera angle, framing andcamera movement), theirunderstanding of sound(original soundtrack, ambientsound, dubbed sound effects)and editing (transitions, paceand frequency of cuts) asstrong tools for communicatingthe concept. The groupproduction rubric shouldaddress the stages of thecreative process, application ofthe knowledge showcased inthe storyboards and their abilityto problem solve as a group.The process journal/sketchbook


materials, techniques, tools, and technologies when producing orpresenting art worksC3.3 explain how art works can have both a positive and negativeimpact on the environment


Lesson #1 - Beyond the Silver Screen

Teacher will:• share a number of recent (within the last 5 years)

contemporary art publication (eg. "Canadian Art","Juxtapoze" or "Art in America" magazines) as aintroduction to contemporary art practice. Using thetemplate provided, (see appendix AWR4M 4:1Contemporary Art Forms BLM), have students scan thepublication for examples of video, installation andconceptual art works

• present a number of different artists and their approach tovideo projection and video installation art. Artists such asNam June Paik, Bruce Nauman, Bill Viola, RafaelLozano-Hemmer, Fabrizio Plessi, Pipilotti Rist, TonyOursler, Janet Cardiff and George Bures Miller could beviewed.

• lead a discussion about modern and post modern artpractices (such as: conceptual art, appropriation,juxtaposition, globalization and intertextuality). Studentscan record their reaction to the artists and their work intheir journal or on a chart provided by the teacher.(Teacher prompts: How is video used differently from its

traditional use as film or TV? How is a non-narrativestructure used by these artists? How is meaning createdwithout a recognizable structure? How does the mannerin which the video is projected affect the meaning? Howdo the artists incorporate video into the larger installationart piece?)

• assign each student to pick an artist and research theirwork and technique as a possible extension task. Theresearch could be formatted on a single print out andvisually displayed in the classroom to inspire the rest ofthe unit.

Lesson #2 - Conceptually Speaking (summative evaluation)This is a Summative Performance and should be weightedappropriately.

Teacher will:

is also a valuable tool forevaluating the creativeprocess.

Lesson # 3

After the installations have allbeen experienced, the classcan use a pre-determined list ofsuccess criteria to generatepeer/teacher feedback in ashort presentation style classcritique. Students shouldreflect on what worked well andwhat could have been improvedin their process journal/sketchbook.


• lead a discussion of big picture concepts and themes;brainstorm list of possible concepts or themes for thisassignment

• provide guided success criteria to co-construct conceptsthat will allow for artistic interpretation and creative videotechnique. Concepts such as Time (show clips from "RunLola Run"); open-ended subjects such as "Water"; or anelement or principle like "Movement" or "Tension" canwork very well.

• remind students of concepts of non-linear and non-narrative as introduced earlier

• instructs students to individually create a "masterpiece"storyboard of their own personal interpretation of thetheme (use good quality illustration board 15"x20" sostudents can add this to their portfolio). This storyboardshould show the student's mastery of planning camerawork to express ideas creatively. Notations under theframes should reinforce the student's understanding ofthese concepts.

• arrange the students into 'artist collectives' (groups of 3-5)after the storyboards are complete, and the individualstoryboards will be "pitched" or presented to the rest ofthe group. (It may be useful for the teacher to giveexamples of different artist collectives such as GeneralIdea, Fluxus, Guerrilla Girls etc)

• have the collective follow the following plan to create theirmovie:

◦ make a plan for their video art piece based onvarious parts of the storyboards or ideas inspiredby a combination of ideas from the storyboards

◦ The collective will then meet with the teacher todiscuss how to realistically implement their plan

◦ The students will then work through the creativeprocess as it applies to film making (pre-production, production and post production) tosee their video to completion

◦ Students should keep a process journal/sketchbook to document the process, providingopportunity for teacher, peer and self reflection

• provide students with a variety of handouts as attachedas appendices

◦ 4:2 Video Art Project Outline◦ 4:3 Process Notes◦ 4:4 Video Art Group Reflection◦ 4:5 Video Art Evaluation Rubric (added as a

sample)• create a co-constructed rubric with the students

Performance Tasks forEvaluation:

Lesson #2 - the conceptualvideo project is the summativeevaluation for the course

DI

Extensions

Lesson #3 - Space and Timecould be used as an extensionto bring the video art piece intoa video installation work.


The finished films will be organized into a class film. The structureof the film can be organized with class input. The films can bewatched separately and then as a class discuss the order in whichthey should be shown. A rich opportunity for discussion of makingmeaning from the separate films and how juxtaposition createsnew, unintended meanings will ensue.

Lesson #3 - Space and Time (extension)

Teacher will:• revisit some of the artists from the first task of this unit

and discuss some of the ways an artist can incorporate avideo projection into an installation piece.

• discuss the term "site specific"• follow the points in lesson #2, but in this case, the

students will create a video that is site specific• instruct that the group will assess the technical needs

(LCD projectors, plugs, extension cords) and also ensurethe installation will not interrupt the flow of traffic or breakthe fire codes within the school. (Look for nooks andunder stairwell spaces etc that may have a plug nearby.Always have black gaffer's tape ready to tape downelectrical cords etc to ensure safety). The group will needto monitor the exhibit so the equipment is safe fromvandalism as well. Some ideas for school friendlyinstallations could be: create a large paper-basedsculpture on a wall of the school and project the video onthis; use fabric/clothing on which to project the video; adda fan for movement; project the video on the floor orceiling in a certain space; create a large cardboard boxwith the interior/exterior meaningfully interacting with thevideo; project the video on the wall and ask students tobe interactive in the space.

Support Materials &Resources

Lucie-Smith, Edward. ArtTomorrow. Terrail, Paris, 2002

Roberstson, Jean andMcDaniel, Craig. Themes ofContemporary Art. OxfordUniversity Press, New York,2005

Art: 21

Appendices:

AWR4M 4:1 Contemporary ArtForms - Magazine ScavengerHuntAWR4M 4:2 ConceptuallySpeaking - Video ProjectAWR4M 4:3 Video Art ProjectOutlineAWR4M 4:4 Process NotesAWR4M 4:5 Video Art GroupReflectionAWR4M 4:6 Video ArtEvaluation Rubric (added as asample)


Glossary of Terms

Artist CollectiveA group of artists who are held together by a shared approach to art and work together towards acommon goal.

CompositionComposition entails the complete arrangement of a scene. The process includes camera angles,framing, lighting, movement, and staging.Composition is in the hands of the director and often becomes a director’s signature.

Installation ArtArt work that usually incorporates the space it is being presented in as part of the actual art work. Itcan conatin objects, video, sound, light.

Non-linear EditingDigital editing allows clips, images, music, etc. to be moved in and out of sequence.


Script or ScreenplayThe written "recipe" for the film with scene descriptions and dialogue.

Site-SpecificA work of art installed or created for a pre-determined location.


StoryboardIn the process of planning a film the camera work is often depicted scene by scene.Storyboards are an overall, general depiction of the entire filming sequence showing the artisticchoices for camera angle, camera movement and framing.

TransitionThe way one clip leadds into another such as fade, cut, and dissolve.

Video InstallationAn art work that uses a projected video image or a monitor to show video as part of a largerinstallation work.


Filmmaking Process Flowchart

IDEA

TREATMENTAND/ORSCRIPT

INITIALSKETCHES

CONCEPTILLUSTRATION

PLANNING /LOCATION

STORYBOARD

SHOT LIST CAMERA DESIGN LIGHTING/STAGING

FILMING ONLOCATION

EDITING

ORGANIZECLIPS ONTIMELINE

TRANSITIONS SOUND SPECIALEFFECTS

TITLES /CREDITS

EXPORT / BURNMOVIE


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