Jaime núñez precioso

353 views

Published on

Published in: Entertainment & Humor
0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
353
On SlideShare
0
From Embeds
0
Number of Embeds
1
Actions
Shares
0
Downloads
2
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide

Jaime núñez precioso

  1. 1. Bloque IV. Unidad didáctica sobre televisión. El cine en la televisión y los valores éticos. Autor: Jaime Núñez PreciosoCurso de Medios de Comunicación como recurso didáctico, Enero-Marzo 2009
  2. 2. Destinatarios• Alumnado de 2º Bachillerato. Inglés. Curso de Medios de Comunicación como recurso didáctico, Enero-Marzo 2009
  3. 3. Objetivos• Utilizar la lengua objeto de aprendizaje, (inglés) para debatir y realizar un pequeño ensayo sobre el tema.• Ampliar el vocabulario en lengua inglesa incluyendo terminología relacionada con el “film noir” americano.• Debatir sobre los valores éticos y su posible cambio a través del tiempo.• Aprender terminología audio-visual, aplicable al cine y a la televisión: Plano general, plano americano, primer plano, fundido en negro, fundido encadenado, plano picado, plano contrapicado, plano cenital, voz en off, flashback, flash-forward, etc. Curso de Medios de Comunicación como recurso didáctico, Enero-Marzo 2009
  4. 4. Contenidos• Utilizar tiempos verbales para expresar el pasado en inglés: Past Simple, Past Continuous, Present Perfect Simple, etc.• Desarrollar un vocabulario en inglés que permita a los alumnos hablar y debatir sobre el “film noir” y su código ético.• Analizar la imagen desde el punto de vista de los planos y los ángulos de la cámara.• El código Hays, también conocido como “The Motion Picture Production Code”. ¿Qué era? ¿Por qué se creó? ¿Es la autocensura necesaria en el mundo audio-visual y en el entretenimiento de masas? Curso de Medios de Comunicación como recurso didáctico, Enero-Marzo 2009
  5. 5. Recursos• Sinopsis en inglés de la película de Billy Wilder: “Double Indemnity” 1944, (en castellano “Perdición”).• Proyector para visionar con las alumnas y los alumnos algunas secuencias relevantes de la cinta.• Programa de RTVE “¡Qué grande es el cine!”, donde el director José Luis Garci, Eduardo Torres-Dulce y otros críticos analizan “Double Indemnity” desde el punto de vista del cine negro americano de los años 40, los aspectos técnicos de la cinta y su relación con el Código Hays. Curso de Medios de Comunicación como recurso didáctico, Enero-Marzo 2009
  6. 6. Actividades (60 minutos)• The students will begin by reading the plot of this wonderful example of American film noir classic, “Double Indemnity”, directed by Billy Wilder in 1944, and co-written by him and the great American author Raymond Chandler, (10 minutes).• PLOT: “Walter Neff (Fred Mac Murray), a successful insurance salesman for Pacific All Risk, returns to his office building in downtown Los Angeles late one night. He is clearly in pain as he sits down at his desk and begins dictating a memo into a Dictaphone machine for colleague Barton Keyes (Edward G. Robinson), a claims adjuster. The dictation becomes the story of the film, which is told in flashback. Neff first meets “femme fatale” Phyllis Dietrichson (Barbara Stanwyck) during a routine house call to renew an automobile insurance policy for her husband. A flirtation develops, at least until Phyllis asks how she could take a policy on his husband’s life without his knowing it. Neff realizes she is contemplating murder, and wants no part of it. Phyllis pursues Neff to his own home though, and ups the voltage of her flirtation. Neff’s gullibility and libido quickly overcome his caution, and he agrees that the two of them, together, will kill her husband. Neff knows all the tricks of the trade, of course, and comes up with plan in which Phyllis’s husband will die an unlikely death, in this case falling from a moving train. The “accidental” nature of his demise will trigger the “double indemnity” clause of the policy, forcing Pacific All Risk to pay the widow twice the normal amount. Curso de Medios de Comunicación como recurso didáctico, Enero-Marzo 2009
  7. 7. The couple carries out their plan. Neff hides in the back seat of the car that Phyllis is driving, andkills Mr. Dietrichson. Neff escorted by Phyllis, then boards the train, pretending to be her husbandon a trip to Palo Alto for a college reunion. He uses a pair of crutches because Mr. Dietrichsonhas recently broken a leg. He also identifies himself as Dietrichson to a passenger from Oregonhe encounters after the train pulls out of the station. Neff jumps off, safely, and he and Phyllisplace Dietrichson’s body on the tracks. Phyllis drives Neff home.Mr. Norton, All Pacific Risk Insurance Companys chief, believes the death was suicide and isprepared to settle with Phyllis; but Investigator Keyes dissuades him by quoting statisticsindicating the improbability of suicide, to Neffs initial delight.Keyes does not suspect foul play at first, but the "little man" in his chest keeps nagging that all isnot right with this case. He eventually concludes that the Dietrichson woman and some unknownaccomplice must be behind the husbands death. He has no reason to be suspicious of Neff, acolleague he has worked with for quite some time and actually views with considerable paternalaffection.Keyes, however, is not Neffs only worry. The victims daughter, Lola, (Jean Heather), comes tohim, convinced that stepmother Phyllis is behind her fathers death. It seems Lolas mother alsodied under suspicious circumstances, while Phyllis was her nurse. Neffs concern goes beyondhis fear that Lola might blow the whistle on the murder; he is not such a jerk that he doesnt beginto care about what might happen to the girl, whose parents have both been murdered. Curso de Medios de Comunicación como recurso didáctico, Enero-Marzo 2009
  8. 8. Keyes, now suspecting Dietrichson was murdered, is prepared to reject the claim and force Mrs.Dietrichson to sue in order to expose her. Neff warns Phyllis not to sue and admits he has beentalking to Lola about her past.Then he learns Phyllis is seeing Lolas boyfriend Nino Zachetti, behind her, and his own, back.Phylliss unfaithfulness helps wake Neff from his romantic haze and he wants to save himselffrom his dire involvement with her and with murder. He reasons that the only way out is to makethe police think Phyllis and Nino did the murder, which is what the tenacious Keyes now believesanyway.Neff and Phyllis meet at her house and she tells him she has been seeing Nino only to provokehim into killing the suspicious Lola in a jealous rage. Neff is now wholly disgusted and is about tokill Phyllis when she shoots him first. Badly wounded but still standing, he advances on her,taunting her to shoot again. She does not shoot and he takes the gun from her. She says shenever loved him "until a minute ago, when I couldnt fire that second shot." Neff coldly says hedoes not believe her; she tries hugging him tightly but then pulls away and looks pleadingly athim when she feels the gun pressed against her side. Neff says "Goodbye, baby," then shootstwice and kills her.Outside, Neff hides in the bushes and intercepts Nino as he approaches, ostensibly to visit hislover, Phyllis. Neff advises him to not enter the house, but to leave and contact "the woman whotruly loves you" — Lola. Nino agrees and heads out, avoiding what would have been damningevidence against him if hed entered the murder house.Neff, gravely injured, drives to his office, seats himself at the Dictaphone, and starts explaining.Keyes arrives in mid-confession and hears enough to understand everything. Neff tells Keyes heis going to Mexico rather than face a death sentence, but drops to the floor before he can reachthe elevator. With Keyes looking down at him, Neff says the reason Keyes couldnt solve thecase was because Neff was "too close" as a fellow employee. Keyes tells Neff he was "muchcloser than that." Neff responds, "I love you too," and puts a cigarette in his mouth. Neff is unableto light the match with his thumb, as he has done throughout the film, so Keyes lights it with his.THE END.” Curso de Medios de Comunicación como recurso didáctico, Enero-Marzo 2009
  9. 9. • Secondly: Students will debate as a class, among them and with their teacher, technical and moral aspects of the movie, (35 minutes). Technical aspects of the movie: The different types of shot: Long shot, (plano general), medium shot (plano medio o plano americano), close-up shot, (primer plano). Also a high angle shot (plano picado) positions the camera above eye-level, looking down on the subject, who consequently appears insignificant, weak, helpless or small according to how extreme the angle is. We also have the eye-level shot (plano a nivel de los ojos), giving a neutral impression. Finally, we have the low angle shot, (plano contrapicado), with the camera looking up at the subject, who appears important, powerful or domineering, again depending on how exaggerated the angle is. Also we have to remember, from the technical point of view, the elegance of black and white cinematography; also that the screen the movies are shown at in 1944 is square. That the composition for this square screen is different from what is going to be later on for the stretched Cinemascope widescreen. “The Robe”, in 1953, being the first movie ever released in this new format. Hays Code and Moral Values in “Double Indemnity”: In 1922, after some risqué movies and a series of off-screen scandals involving Hollywood stars, the studios enlisted Presbyterian, Will H. Hays, to rehabilitate Hollywood’s image. Hollywood in the 1920’s was expected to be somewhat corrupt, and many felt the movie industry had always been morally questionable. Political pressure was building up, with legislators in 37 states introducing almost 100 movie censorship bills in 1921. Hays was then paid the then lavish sum $100,000 a year. Hays, Postmaster General under President of the USA Warren G. Harding and former head of the Republican National Committee, served for 25 years as President of the “Motion Picture Producers and Distributors of America” (MPPDA). Curso de Medios de Comunicación como recurso didáctico, Enero-Marzo 2009
  10. 10. The Hays Code imposed a serious censorship in American movies until the late 1950s. The Hays Codedenied the right to appear in movies to the following things: “Profanity, licentious or suggestive nudity,illegal traffic in drugs, sex perversion, white slavery, sex relations between the white and black races,scenes of actual childbirth (in fact or in silhouette), ridicule of the clergy, willful offense of any nation, raceor creed, etc…).The Hays Code also said that special care be exercised in the manner in which the following subjects aretreated, and that good taste be emphasized: “The use of the flag, the use of firearms, theft, robbery, safe-cracking, dynamiting of trains, mines, buildings, (having in mind the effect that a too-detailed descriptionof these might have upon simple people), techniques of committing murder by whatever method, actualhanging or electrocution as legal punishment for crime, sympathy for criminals, apparent cruelty tochildren or animals, the sale of women or of a woman selling “her virtue”, man and woman in bedtogether, the institution of marriage, excessive or lustful kissing, etc…”In what ways do we think the Hays Code was excessive? Do we need such a code in nowadaystelevision? Do the students think television in Spain has already a Hays Code of sorts?We mustn’t forget what problems “Double Indemnity” must have faced with the Hays Code uponrelease. “Double Indemnity” portraits adultery of Phyllis with Walter Neff; murder of a husband byhis wife and her lover; murder of the husband’s first wife by his second wife, Phyllis. And also notto forget the attempt of getting $100,000 by a false “double indemnity” claim from Pacific All RiskInsurance Company.Also does “Double Indemnity” reflect the “low moral guidelines” of a nation, the USA in 1944, which justcame out of a long period of economic recession that started with the Stock Exchange Crack of 1929? Anation that had also entered World War II on December 7th 1941 and that by 1944 had been more than 3years in that bloody conflict? Do the students think that today’s recession also “lowers” our moralstandards and makes our television programs worse?Students will debate during 35 minutes all these moral aspects, drawing parallels between the HaysCode, Double Indemnity and today’s television programs and the presence or absence of ethic and moralguidelines.Thirdly, and finally, the students will summarize their ideas about today’s debate in a short essaythat they will begin writing in the last 15 minutes of class. They will finish as homework and willhand it in to their teacher the following day. Curso de Medios de Comunicación como recurso didáctico, Enero-Marzo 2009
  11. 11. Evaluación• The teacher will evaluate the students’ capabilities to take part in the classroom debate, as well as their capacity to express their opinion and to back it up with solid arguments.• The teacher will also evaluate their capacity to put their ideas in writing, by reading their short essays, (it shouldn’t be more than one side of a page typed out). There, the students will show their mastery of English grammar and vocabulary, as well as the depth and understanding of their ideas of today’s debate. Curso de Medios de Comunicación como recurso didáctico, Enero-Marzo 2009
  12. 12. Curso de Medios de Comunicación como recurso didáctico, Enero-Marzo 2009

×