1. The document discusses a 20-year old film education program called Cinema Cent Ans de Jeunesse/Understanding Cinema that teaches students filmmaking skills like camera work, editing, and storytelling.
2. It describes some of the films and techniques students learned about, including themes of revealing and concealing information on screen. Students were given exercises to practice these techniques in their own short films.
3. The program takes a "hands-on" approach to teaching film analysis and production, with students collaborating to write, film, and edit their own short narratives under certain constraints like limiting dialogue or concealing a key scene.
The document provides instruction on using imagery in writing. It defines imagery as description that engages all five senses to help readers visualize people, objects, and scenes. Students are given examples of imagery and exercises to practice incorporating more imagery into their own writing by showing rather than telling, using specific details and metaphors or similes rather than cliches or abstract terms. The homework assignment is to bring an object and comment on a peer's response to a sample essay describing a nature observation in vivid sensory detail.
Alex Noudelman - Intro to Personification - Personification is when an idea or thing is given human attributes and/or feelings. Perfect for a unit on poetry or for a Parts of Speech lesson.
This document provides guidance for students completing a final exam that involves dramatizing a situation. It discusses what drama is, provides examples of common situations that could be dramatized, and outlines the assessment criteria. Students are instructed to choose a topic, list characters, develop a plot, and write a script for their dramatization. The document provides a sample script and advises students on organizing their ideas, formatting their script, and binding it for submission. Students are directed to additional online resources for more information on drama, script writing, and binding instructions.
Use it or Lose it! Games for the Creative 21st Century LearnerSusan Hillyard
This document provides information about a presentation by Susan Hillyard on using creative games in the language classroom. The presentation will explore teacher beliefs about creativity, challenge myths that creativity is difficult and only for the gifted, and provide strategies for getting students to develop speaking skills through using language creatively. The emphasis will be on competence in speaking through practicing new structures, vocabulary, pronunciation, and communication in a relaxed way. Cooperation among students will also be stressed as important for the 21st century learner. The workshop portion of the presentation will have teachers practicing sample creative activities.
The document describes a film production group's process of filming scenes over multiple days to tell a story. It discusses the scenes they filmed, locations used, costumes, and shots they took. It also reflects on improvements made between filming sessions, such as changing locations due to weather or tightening the script. The goal was to convey tension, danger, and a mysterious atmosphere through the filming techniques and storyline as it progressed.
1. The document discusses a 20-year old film education program called Cinema Cent Ans de Jeunesse/Understanding Cinema that teaches students filmmaking skills like camera work, editing, and storytelling.
2. It describes some of the films and techniques students learned about, including themes of revealing and concealing information on screen. Students were given exercises to practice these techniques in their own short films.
3. The program takes a "hands-on" approach to teaching film analysis and production, with students collaborating to write, film, and edit their own short narratives under certain constraints like limiting dialogue or concealing a key scene.
The document provides instruction on using imagery in writing. It defines imagery as description that engages all five senses to help readers visualize people, objects, and scenes. Students are given examples of imagery and exercises to practice incorporating more imagery into their own writing by showing rather than telling, using specific details and metaphors or similes rather than cliches or abstract terms. The homework assignment is to bring an object and comment on a peer's response to a sample essay describing a nature observation in vivid sensory detail.
Alex Noudelman - Intro to Personification - Personification is when an idea or thing is given human attributes and/or feelings. Perfect for a unit on poetry or for a Parts of Speech lesson.
This document provides guidance for students completing a final exam that involves dramatizing a situation. It discusses what drama is, provides examples of common situations that could be dramatized, and outlines the assessment criteria. Students are instructed to choose a topic, list characters, develop a plot, and write a script for their dramatization. The document provides a sample script and advises students on organizing their ideas, formatting their script, and binding it for submission. Students are directed to additional online resources for more information on drama, script writing, and binding instructions.
Use it or Lose it! Games for the Creative 21st Century LearnerSusan Hillyard
This document provides information about a presentation by Susan Hillyard on using creative games in the language classroom. The presentation will explore teacher beliefs about creativity, challenge myths that creativity is difficult and only for the gifted, and provide strategies for getting students to develop speaking skills through using language creatively. The emphasis will be on competence in speaking through practicing new structures, vocabulary, pronunciation, and communication in a relaxed way. Cooperation among students will also be stressed as important for the 21st century learner. The workshop portion of the presentation will have teachers practicing sample creative activities.
The document describes a film production group's process of filming scenes over multiple days to tell a story. It discusses the scenes they filmed, locations used, costumes, and shots they took. It also reflects on improvements made between filming sessions, such as changing locations due to weather or tightening the script. The goal was to convey tension, danger, and a mysterious atmosphere through the filming techniques and storyline as it progressed.
The document describes a film production group's process of filming scenes over multiple dates to tell the story of a woman named Natasha. On the first filming date, they shot scenes of Natasha walking alone looking paranoid, and added a character named Olivia to portray a stalker following her. Subsequent filming dates focused on different scenes with other characters at various outdoor locations. The group worked to improve their filming techniques, use of equipment, and ability to convey mood and tension through shots, lighting, costumes and other cinematic techniques. They reflected on ways to strengthen the character development and plot structure to engage the audience. Images from the production are also included.
The document summarizes the filming process for a student film project over several dates in October 2012. It describes the scenes filmed, locations used, and characters portrayed. The filming involved setting up shots to build tension and mystery around the main character's discovery of a stolen diamond. The student filmmakers worked to improve their use of techniques like camerawork, lighting, and editing with each shoot.
The document summarizes the filming of scenes for a student film production over multiple days from August to October. It describes filming locations, scenes captured, costumes and acting of characters, and efforts to improve production quality through lighting, camerawork techniques, and incorporating feedback between shoots. The production focused on developing thriller and mystery elements through the stalking of a main character who discovered a valuable diamond.
The group members Sam Allen, Danny King, and Luke Wrate held a meeting to discuss ideas for their production project. They debated their single storyboard ideas but could not agree on one solid concept. Their ideas were both horror/thriller genres. They decided to create pitches for both ideas and present them to the class to help determine which one to film, with Sam responsible for the shooting script if a concept is chosen.
The document describes a film production group's process of filming scenes over multiple days to tell a story. It details their filming locations, scenes shot, characters portrayed, and goals for conveying tone and suspense. The group reflected on challenges faced and ways to improve their filming technique, storytelling, and editing to craft a polished thriller.
The document summarizes the filming of several scenes for a student film project over multiple dates. It describes filming locations, characters, costumes, shots, and goals for conveying mood. The group filmed scenes of a character walking alone looking paranoid and being stalked, then a news report. Later scenes included the main character finding a crystal and receiving a threatening letter. The document reflects on improving atmosphere, script, editing, and incorporating genre conventions into the film.
The document summarizes a filmmaking group's process of filming scenes over multiple days to create a short film. It describes the locations and scenes they filmed, including establishing shots of a main character walking alone and being stalked. It also discusses improving the filming by focusing on costumes, lighting, shot types, and script to develop characters and suspense. The group reflected on their progress and goals for subsequent filming.
The document summarizes the filming process of a student film group over multiple sessions. It describes the scenes they filmed of the main character Jasmine walking alone and being stalked. It also covers filming additional scenes of a news report and Jasmine finding crystals. The group focused on costumes, locations, shots types, and lighting to portray mood and tension. Their goal was to improve at incorporating cinematic techniques to engage the audience as a thriller.
1. The document discusses the power of the arts to empower students and build confidence through techniques like breathing exercises, visualization, and performance arts.
2. It references studies showing that arts education can develop skills like creativity, identity, cooperation, and leadership.
3. The Freedom Theatre in Jenin aims to empower Palestinian youth through theatre by providing opportunities to develop skills and confidence to challenge their situation.
This workshop explores the need to use English, with above beginners, as a global language to examine global issues through the practice of critical, comparative, and creative thinking skills related to social values. The framework is based on Robert Fisher’s language learning model of the interrelatedness of reading, writing, listening, speaking, input, output and metacognition. In this awareness raising session the basic tenet underpinning the action is We are all the Same, We are all Different with the emphasis on teaching for diversity. Questioning ourselves comes before questioning the students, and changing our perceptions is a necessary first step. There will be some theory and plenty of activity.
The document provides information about narratives as a text type. It defines narratives as stories meant to entertain, teach, or inform through a fictional or factual account of events. Narratives have a generic structure including orientation, complication, resolution, and reorientation. They also use certain language features such as past tense verbs, dialogue, pronouns referring to characters, and time/place connectives. An example narrative follows the generic structure through the story of Snow White.
Creating Spheres of Interculturality through Paerformative ActivitySusan Hillyard
Performativity will be shown to replace more abstract conceptions of language as a structure of meaning or as a symbol system and one way of introducing the concept of spheres of interculturality into ELT. The emphasis will be on the role of language in the concrete, particular transactions of the speaking body in specific contexts and in specific moments of time. It focuses on language as action, and also on meaning as the effect of embodied processes of meaning-making.
El documento presenta una descripción de diferentes teorías y enfoques lingüísticos como el estructuralismo, la gramática generativa, los enfoques pragmáticos, sociolingüísticos y cognitivos. Explica conceptos clave como competencia comunicativa, juegos del lenguaje, actos de habla, sociolingüística y lingüística del texto. El documento analiza estas teorías y conceptos con el objetivo de comprender mejor el desarrollo de las competencias lingüísticas.
The devil hates the law cuz when people look at God's law they become aware of their sin and recognize they're need for a savior. if devil can get rid of the law he can hypnotize people into thinking that everything is alright when in reality it isn't.
As the great "I AM," He Himself proclaimed the Father's moral law from Sinai (John 8:58; Ex. 3:14).
Part of His mission on earth was to "magnify the law and make it honorable" (Isa. 42:21).
Psalm 89:34 “My covenant will I not break, nor alter the thing that is gone out of My lips”
John 15:10 “I have kept my Father's commandments”
This thesis evaluates different methods for performing large-scale semantic expansion of the NCBO Resource Index on distributed computing systems like Hadoop, HBase, Pig and MapReduce. It implements various join algorithms in these frameworks and compares their performance. The goal is to scale the Resource Index to include nearly 100 data resources containing over 50 million data elements and 100 billion annotations, as the current MySQL implementation is reaching its limits.
Este documento proporciona instrucciones sobre cómo personalizar y utilizar las barras de herramientas y la cinta de opciones en Microsoft Word 2013. Explica cómo agregar y eliminar comandos de la barra de acceso rápido y la cinta de opciones, y cómo minimizar la cinta de opciones para ganar espacio en la pantalla. También cubre el uso de las fichas contextuales y la vista previa activa para previsualizar formatos, y cómo desactivar la barra de herramientas mini y la vista previa si son molestas.
El documento presenta las instrucciones para realizar tareas de autocorrección, combinación de correspondencia, protección y restricción de edición de documentos de Word. Explica cómo revisar ortografía y gramática, usar la corrección automática, combinar correspondencia, proteger un documento con contraseña, restringir la edición a solo lectura y marcar un documento como final.
Story board for the second preliminary task rchilds1411
This storyboard outlines 10 scenes for a film continuity sequence about a police interrogation. Scene 1 and 2 establish the setting of the interrogation room with natural lighting and background sounds. Scenes 3 and 4 will film the interrogation from various angles to create a realistic perspective for the audience. Scenes 5-7 depict intense moments, including an extreme close-up of evidence and a 'daydream effect' to add drama. Scenes 8-9 continue the dialogue with changing emotions expressed on characters' faces. The final scene ends dramatically with the suspect leaving in his car while intense music plays.
New Covenant Theology Compared to Dispensational TheologyZachary Maxcey
The document compares and contrasts the eschatological views of Dispensational Theology and New Covenant Theology. It outlines several key differences:
- Dispensational Theology believes in a two-stage return of Christ including a pre-tribulation rapture, while New Covenant Theology believes in a single, future return of Christ.
- Dispensational Theology interprets Daniel's 70th week as a literal 7-year tribulation period separated from Christ's return, while New Covenant Theology sees it as symbolic of the entire New Covenant age.
- Dispensational Theology believes Israel will be restored as a nation before Christ's return,
1. The document summarizes a training session about analyzing films through the lens of "play". It discusses various theories of play and childhood development.
2. Examples of films that depict different aspects of play are shown and analyzed, such as isolation, rules, objects becoming characters, and virtuosity. Clips shown include Kiarostami's Break Time, Bresson's Mouchette, and Rivette's Celine and Julie.
3. The concept of "islands of play" is introduced, where play occurs in a closed circle separate from the real world, with its own rules. Examples discussed include Kitano's Sonatine and Visages d'enfants.
The document describes a film production group's process of filming scenes over multiple dates to tell the story of a woman named Natasha. On the first filming date, they shot scenes of Natasha walking alone looking paranoid, and added a character named Olivia to portray a stalker following her. Subsequent filming dates focused on different scenes with other characters at various outdoor locations. The group worked to improve their filming techniques, use of equipment, and ability to convey mood and tension through shots, lighting, costumes and other cinematic techniques. They reflected on ways to strengthen the character development and plot structure to engage the audience. Images from the production are also included.
The document summarizes the filming process for a student film project over several dates in October 2012. It describes the scenes filmed, locations used, and characters portrayed. The filming involved setting up shots to build tension and mystery around the main character's discovery of a stolen diamond. The student filmmakers worked to improve their use of techniques like camerawork, lighting, and editing with each shoot.
The document summarizes the filming of scenes for a student film production over multiple days from August to October. It describes filming locations, scenes captured, costumes and acting of characters, and efforts to improve production quality through lighting, camerawork techniques, and incorporating feedback between shoots. The production focused on developing thriller and mystery elements through the stalking of a main character who discovered a valuable diamond.
The group members Sam Allen, Danny King, and Luke Wrate held a meeting to discuss ideas for their production project. They debated their single storyboard ideas but could not agree on one solid concept. Their ideas were both horror/thriller genres. They decided to create pitches for both ideas and present them to the class to help determine which one to film, with Sam responsible for the shooting script if a concept is chosen.
The document describes a film production group's process of filming scenes over multiple days to tell a story. It details their filming locations, scenes shot, characters portrayed, and goals for conveying tone and suspense. The group reflected on challenges faced and ways to improve their filming technique, storytelling, and editing to craft a polished thriller.
The document summarizes the filming of several scenes for a student film project over multiple dates. It describes filming locations, characters, costumes, shots, and goals for conveying mood. The group filmed scenes of a character walking alone looking paranoid and being stalked, then a news report. Later scenes included the main character finding a crystal and receiving a threatening letter. The document reflects on improving atmosphere, script, editing, and incorporating genre conventions into the film.
The document summarizes a filmmaking group's process of filming scenes over multiple days to create a short film. It describes the locations and scenes they filmed, including establishing shots of a main character walking alone and being stalked. It also discusses improving the filming by focusing on costumes, lighting, shot types, and script to develop characters and suspense. The group reflected on their progress and goals for subsequent filming.
The document summarizes the filming process of a student film group over multiple sessions. It describes the scenes they filmed of the main character Jasmine walking alone and being stalked. It also covers filming additional scenes of a news report and Jasmine finding crystals. The group focused on costumes, locations, shots types, and lighting to portray mood and tension. Their goal was to improve at incorporating cinematic techniques to engage the audience as a thriller.
1. The document discusses the power of the arts to empower students and build confidence through techniques like breathing exercises, visualization, and performance arts.
2. It references studies showing that arts education can develop skills like creativity, identity, cooperation, and leadership.
3. The Freedom Theatre in Jenin aims to empower Palestinian youth through theatre by providing opportunities to develop skills and confidence to challenge their situation.
This workshop explores the need to use English, with above beginners, as a global language to examine global issues through the practice of critical, comparative, and creative thinking skills related to social values. The framework is based on Robert Fisher’s language learning model of the interrelatedness of reading, writing, listening, speaking, input, output and metacognition. In this awareness raising session the basic tenet underpinning the action is We are all the Same, We are all Different with the emphasis on teaching for diversity. Questioning ourselves comes before questioning the students, and changing our perceptions is a necessary first step. There will be some theory and plenty of activity.
The document provides information about narratives as a text type. It defines narratives as stories meant to entertain, teach, or inform through a fictional or factual account of events. Narratives have a generic structure including orientation, complication, resolution, and reorientation. They also use certain language features such as past tense verbs, dialogue, pronouns referring to characters, and time/place connectives. An example narrative follows the generic structure through the story of Snow White.
Creating Spheres of Interculturality through Paerformative ActivitySusan Hillyard
Performativity will be shown to replace more abstract conceptions of language as a structure of meaning or as a symbol system and one way of introducing the concept of spheres of interculturality into ELT. The emphasis will be on the role of language in the concrete, particular transactions of the speaking body in specific contexts and in specific moments of time. It focuses on language as action, and also on meaning as the effect of embodied processes of meaning-making.
El documento presenta una descripción de diferentes teorías y enfoques lingüísticos como el estructuralismo, la gramática generativa, los enfoques pragmáticos, sociolingüísticos y cognitivos. Explica conceptos clave como competencia comunicativa, juegos del lenguaje, actos de habla, sociolingüística y lingüística del texto. El documento analiza estas teorías y conceptos con el objetivo de comprender mejor el desarrollo de las competencias lingüísticas.
The devil hates the law cuz when people look at God's law they become aware of their sin and recognize they're need for a savior. if devil can get rid of the law he can hypnotize people into thinking that everything is alright when in reality it isn't.
As the great "I AM," He Himself proclaimed the Father's moral law from Sinai (John 8:58; Ex. 3:14).
Part of His mission on earth was to "magnify the law and make it honorable" (Isa. 42:21).
Psalm 89:34 “My covenant will I not break, nor alter the thing that is gone out of My lips”
John 15:10 “I have kept my Father's commandments”
This thesis evaluates different methods for performing large-scale semantic expansion of the NCBO Resource Index on distributed computing systems like Hadoop, HBase, Pig and MapReduce. It implements various join algorithms in these frameworks and compares their performance. The goal is to scale the Resource Index to include nearly 100 data resources containing over 50 million data elements and 100 billion annotations, as the current MySQL implementation is reaching its limits.
Este documento proporciona instrucciones sobre cómo personalizar y utilizar las barras de herramientas y la cinta de opciones en Microsoft Word 2013. Explica cómo agregar y eliminar comandos de la barra de acceso rápido y la cinta de opciones, y cómo minimizar la cinta de opciones para ganar espacio en la pantalla. También cubre el uso de las fichas contextuales y la vista previa activa para previsualizar formatos, y cómo desactivar la barra de herramientas mini y la vista previa si son molestas.
El documento presenta las instrucciones para realizar tareas de autocorrección, combinación de correspondencia, protección y restricción de edición de documentos de Word. Explica cómo revisar ortografía y gramática, usar la corrección automática, combinar correspondencia, proteger un documento con contraseña, restringir la edición a solo lectura y marcar un documento como final.
Story board for the second preliminary task rchilds1411
This storyboard outlines 10 scenes for a film continuity sequence about a police interrogation. Scene 1 and 2 establish the setting of the interrogation room with natural lighting and background sounds. Scenes 3 and 4 will film the interrogation from various angles to create a realistic perspective for the audience. Scenes 5-7 depict intense moments, including an extreme close-up of evidence and a 'daydream effect' to add drama. Scenes 8-9 continue the dialogue with changing emotions expressed on characters' faces. The final scene ends dramatically with the suspect leaving in his car while intense music plays.
New Covenant Theology Compared to Dispensational TheologyZachary Maxcey
The document compares and contrasts the eschatological views of Dispensational Theology and New Covenant Theology. It outlines several key differences:
- Dispensational Theology believes in a two-stage return of Christ including a pre-tribulation rapture, while New Covenant Theology believes in a single, future return of Christ.
- Dispensational Theology interprets Daniel's 70th week as a literal 7-year tribulation period separated from Christ's return, while New Covenant Theology sees it as symbolic of the entire New Covenant age.
- Dispensational Theology believes Israel will be restored as a nation before Christ's return,
1. The document summarizes a training session about analyzing films through the lens of "play". It discusses various theories of play and childhood development.
2. Examples of films that depict different aspects of play are shown and analyzed, such as isolation, rules, objects becoming characters, and virtuosity. Clips shown include Kiarostami's Break Time, Bresson's Mouchette, and Rivette's Celine and Julie.
3. The concept of "islands of play" is introduced, where play occurs in a closed circle separate from the real world, with its own rules. Examples discussed include Kitano's Sonatine and Visages d'enfants.
Este documento analiza los estereotipos presentes en el uso del lenguaje. Explica que los estereotipos lingüísticos como las frases hechas, dichos y muletillas han existido siempre en todos los idiomas. Luego identifica dos tipos de estereotipos: los sociales, como la creencia de que la escuela solo debe enseñar a leer y escribir, y los educativos, como pensar que aprender español requiere memorizar reglas gramaticales. Finalmente, propone entender la enseñanza del lenguaje como una
Este documento presenta la planificación de actividades para un grupo de preescolar durante el mes de diciembre. Incluye objetivos, campos formativos, competencias, contenidos conceptuales, procedimentales y actitudinales. Se describen 4 días de actividades relacionadas con la revolución mexicana, el inglés y la elaboración de tarjetas navideñas, con instrucciones detalladas.
The student portal provides access to administrative tasks, academic records, financial information, and other resources for students. Students can log in using their student ID and password. The portal home page has announcements and links to other areas. Students should ensure they are viewing the correct academic term. Administrative functions include viewing transcripts, checking grades, paying tuition, and updating contact information. Academic resources include class schedules and tracking degree progress through the degree audit system. Financial features allow viewing bills and accepting/declining financial aid. Assistance is available by contacting an advisor or the helpdesk if any issues arise.
This document contains an English make-up worksheet for students with various activity types including: matching drawings to commands; finding letters to complete the name of a month; writing out the days of the week; numbering vocabulary words; and answering personal questions to practice writing in English. The final activities direct students to an external blog to complete additional exercises and encourage them to work hard to improve.
Introducing Electricity Dispatchability Features in TIMES modelling FrameworkIEA-ETSAP
This document provides an update on the status of a project to improve the dispatch modeling of power plants in the TIMES energy systems modeling framework. It describes the implementation of a unit commitment (UC) problem into TIMES, which will allow the model to consider start-up costs and minimum run times of power plants when determining the optimal dispatch schedule. The document outlines the key features and constraints of the UC problem being modeled, provides an overview of the current implementation progress and tasks completed, and describes two different approaches - using binary variables or continuous variables - for formulating the UC problem in TIMES. Examples are also presented to demonstrate the UC modeling capabilities.
La vestimenta tradicional china ha evolucionado a lo largo de las dinastías, desde la seda de la dinastía Han hasta el qipao de la dinastía Qing. La ropa se usaba para indicar la clase social y el género, y prácticas como vendar los pies de las niñas para hacerlos más pequeños se usaban para reflejar la belleza y el estatus. La seda se ha convertido en un material y símbolo importante de la cultura china, y la ruta de la seda expandió su comercio.
Participatory approach is based on solving the learner’s problem in real life, using the target language as a tool this porpose. Learners bring their outside problems into class.
This document summarizes discussions from a filmmaking workshop for students. The students worked collaboratively to write, film, and edit a short silent film. They went through multiple iterations, changing the order of shots, experimenting with different edits, and capturing numerous retakes to improve scenes. The pedagogy emphasized constraints, play, and learning from trial and error. It's suggested that giving all students regular opportunities to tell stories and express ideas through film could enable new forms of thinking and representation to be developed and stimulated in the curriculum.
The document discusses exercises and projects students completed to learn various techniques of film language. It describes how students:
1) Filmed different scenarios involving camera movement and object/actor movement.
2) Edited their films in different ways, changing the order of shots, and voted on the best version.
3) Worked within the constraints of the assignments, which included having a secret scene not shown in one film.
The document discusses the filmmaker's process in creating an independent art house film inspired by films like "Un Chien Andalou" and "Meshes of an Afternoon." They aimed to create a dreamlike atmosphere using techniques like jump cuts and continuity editing. The film has no dialogue and uses the Albanian language and folk music. It features two female characters, a young girl and an old woman, representing youth and age. The filmmaker learned the importance of planning, teamwork, and time management through this project.
The document discusses the opening title sequence (OTS) for a horror film called "The Basement". It describes how the OTS uses conventions of the horror genre, such as taking place at night in an isolated setting (an empty school). It builds tension through minor ominous music, dark lighting, and not showing the villain's face under his hoodie. The OTS was edited to enhance fear using color balance, chiaroscuro effects, and close-ups when tension is highest. Scary fonts were used to maintain fear and mystery for viewers. The story involves the last student being attacked by a school worker and dragged to the basement where something terrible is hidden.
The document summarizes the student's media studies foundation portfolio evaluation of their short film "Delusion Requiem". It discusses the conventions and genres used, representation of social groups (teenagers), potential distributors (major studios vs smaller UK companies), target audience (ages 16-18), and technologies learned in the process (iMovie, camera, tripod).
The document provides guidance on making movies with kids. It discusses brainstorming story ideas, developing scripts with main plots and subplots, creating storyboards to plan scenes, holding auditions for roles, and preparing for production with notes. Key steps include imagining original stories, sketching the plot, drawing picture scenes, playing games to cast roles, and finalizing plans before filming.
The student conducted research on thriller movie opening titles and credits sequences. They created their own opening credits for a hypothetical film by taking 7 photos on a bright day and editing them to have a darker color to create suspense. The fake film's plot involved students at a school trying to figure out why everyone had disappeared. The student found that analyzing a single scene from a film made it hard to understand a character's feelings fully, so they watched the movie "Crash" which showed how specific groups of people interacted in realistic ways and how circumstances can influence people's thoughts and actions.
The Making of a Blockbuster: Using Cinematic Techniques in eLearningLaura Love
eLearning Guild DevLearn 2008 Presentation: The Making of a Blockbuster: Using Cinematic Techniques in eLearning
Also download pdf at multistorymedia.com/blockbuster
All materials are for educational purposes only.
This document provides details about a movie trailer created by Laurena. The trailer is for a film that tells the story of a famous teenage pianist named JJ and his family who try to run away to find safety after JJ is targeted for kidnapping. However, where they think they will find safety ends up being more dangerous than where they were. The document outlines the philosophy, characters, settings, inspiration, and theories that informed the creation of the trailer.
Session 1A film elements: Film Appreciation Course (Hum 3)Jeremy Eliab
The document discusses the essential elements that make up a film, including the story, characters, setting, theme, and style. It describes how the story involves a plot with a beginning, middle, and end as well as cause and effect relationships. Characterization involves defining the main protagonist and antagonist roles that drive the story forward. The setting, theme, and director's style come together to provide context and convey the overall message of the film.
The document discusses elements of thriller films and provides examples of scenes from a student thriller film project. It begins by defining characteristics of thriller genres like mystery, crime, and psychological thrillers. It then provides descriptions of 7 scenes from the student film project which aim to attract the audience and gradually reveal clues. The scenes depict everyday settings and use techniques like music, color schemes, and camera angles to build suspense and intrigue without revealing crucial details. Comments on the scenes praise aspects like their realism, use of British accents, and how they prevent revealing the masculine nature of a character too quickly.
The document discusses elements of thriller films and provides examples of scenes from a student thriller film project. It begins by defining characteristics of thriller genres like mystery, crime, and psychological thrillers. It then provides descriptions of 7 scenes from the student film project which aim to attract the audience and gradually reveal clues. The scenes depict everyday settings and use techniques like music, color schemes, and camera angles to build suspense and intrigue the audience. Comments on the scenes praise aspects like their realism, use of British accents, and how they prevent revealing masculine characteristics.
In what ways does your media product use, develop or challenge forms and conv...zackariyaa
Our media product uses and challenges some conventions of real films. It uses props, settings and locations to influence character interpretation and atmosphere, shooting on location in Jordan to resemble Iraq for realism. However, it also challenges conventions through its use of lighting - interrogating in a bright, open rooftop rather than a dark enclosed space. The plot manipulates time through flashbacks, a standard technique, but creates tension through an unsettling soundtrack against the opening scenes. Overall it draws on real film conventions while adapting and challenging others for creative purposes.
Our media product uses and challenges some conventions of real films. It uses props, settings and locations to influence character interpretation and atmosphere, shooting on location in Jordan to resemble Iraq for realism. However, it also challenges conventions through its use of lighting - interrogating in a bright, open rooftop rather than a dark room. While employing stereotypical characters of victim and villains, it manipulates time through flashbacks, typically a convention but now common. The soundtrack creates tension as in thrillers, conforming to genres while surprising through its settings.
The document summarizes the development of an opening sequence for a fictional film combining fantasy and thriller genres. Key points:
- The group researched fantasy, thriller, and other genres to develop an understanding of conventions.
- They decided to combine fantasy (fairy tales) and thriller to create something unique.
- The opening reimagines Snow White with a dark, mysterious tone using quick cuts, dim lighting, and an unsettling soundtrack.
- Research of other films informed creative choices for the opening sequence.
Teaching with Contrived and Dramatized ExperiencesAladin Awa
Contrived experiences are edited copies of reality used as substitutes for real things in the classroom. They are designed to simulate real-life situations. Examples include models, mock-ups, specimens, simulations, and games. Dramatized experiences range from plays and pageants to tableaus, pantomimes, puppets, and role-playing. They are used to vividly portray ideas about life. There are five types of puppets: hand puppets, shadow puppets, finger-glove puppets, marionettes, and rod puppets. Role-playing involves students spontaneously acting out assigned roles in described situations. Both contrived and dramatized experiences motivate students and help them learn.
The document summarizes the process a media group took to develop the opening titles and sequence for a fictional fantasy/thriller film. They researched the conventions of different genres including fantasy, thriller, horror, action, drama, and romance. They decided to combine fantasy and thriller elements. The opening references Snow White but adds a dark twist. It uses quick cuts, dark lighting, and ominous music to set an unsettling tone. Research of other film openings informed the creative choices for this opening title sequence.
This document discusses research and planning stages needed to make a horror film. It recommends getting a scary idea and plot, finding a filming location with permission, casting actors, adding atmospheric music and scary monsters/killers, using ordinary objects to increase drama, including plot twists, using good special effects like blood substitutes, and editing the completed film with a release date in mind. Digital technologies needed include CGI for visual effects, sound effects to set tense atmospheres, and film editing software to assemble scenes from multiple shots.
The document summarizes a student's ideas for a short horror film. It will focus on a group of teenage girls being stalked in an isolated park at night. One girl gets injured and the stalker, an unstable young man, chases and grabs her while her friends try to save her. The student discusses the target audience, characters, costumes, storyboard ideas and opening credits sequence to set up suspense and scare the audience in line with horror genre conventions.
Similar to Goldsmiths PGCE Presentation sept 16 (20)
This document outlines the origins and progress of the Film Education: From Framework to Impact project between 2018-2021. It aimed to develop models of film education across Europe, conduct a landscape survey of film education in 29 countries, create an online course ("Film Education: A User's Guide") and regional training seminars, and hold an international conference in November 2020 in Erfurt. Key findings from the survey identified needs such as developing strategic visions, increasing teacher training, and prioritizing film in national curricula. The online course launched in March 2020 and had over 4,200 enrollments from countries like India, the US, and Egypt.
This document outlines a sample structure for a cinema club program called Cinemacent ans de jeunesse that explores concepts of time through film. Over 25 weeks, students would watch clips relating to different themes about time, complete three exercises filming shots exploring time's passage, and ultimately plan and film their own short film mixing showing and telling that includes changes in pace. Key activities include analyzing early cinema's temporal techniques, recording the continuity of actions, capturing dynamic tension under time pressure, and observing transformations over long takes.
This document discusses concepts of time in cinema. It begins by explaining that film is inherently a time-based medium structured around duration. Filmmakers use techniques like temporal markers and editing to manipulate the experience and flow of time. Early films by the Lumière brothers and Alice Guy Blaché explored the discoveries of capturing time through a motion picture. There are different types of time in film including scene time, duration, and simultaneous time. Exercises are proposed to experiment with capturing the passage of time through long takes, cuts, and transformations over the duration of a shot.
This document outlines the structure and goals of a 12-25 week filmmaking course titled "Sensory Cinema". The course will involve watching film clips to analyze how sensations are conveyed, completing three short film exercises paying attention to sensations, and making a final group film of 7-8 minutes focusing on sensations as perceived by characters or viewers. Examples of films that effectively convey sensations are provided. An analysis framework is introduced that focuses on how the five senses, movement, time, character perspectives, place, and memory are used to tell stories and evoke sensations through film.
Sample scheme of work for sensory cinemamarkreid1895
This document outlines a sample 26-week program called "Sensory Cinema" for exploring film through a sensory lens. It involves watching film clips each week that represent different themes like childhood memories, pure sensations, disconnected senses. Students do exercises like creating a short film representing everyday sensations or responding to music through images and sounds. They also work in groups on a final film project exploring sensations from different perspectives meant to cross boundaries between documentary, experimental and fiction filmmaking. The program is flexible and can be adjusted to fit available timeframes between 8-10 or up to 26 weeks.
1. The document outlines the structure and content for a filmmaking course titled "Sensory Cinema". The course will run for 12-25 weeks and include watching film clips, discussions, and creating short films.
2. Students will complete three short film exercises exploring everyday sensations, interpreting spaces through different senses, and responding to music through film.
3. For their final project, students will create a 7-8 minute mixed-form film communicating sensations as perceived by characters and disconnected from people on screen but relating to the viewer. The film will cross boundaries between documentary, experimental, and fiction filmmaking.
This document discusses how short films can be used to support literacy education. It outlines a 3-year project between the BFI, Bucks County Council, and Rothschild Foundation that uses film to enhance primary literacy and secondary foreign language learning. Research shows that moving image education can improve attainment, motivation, engagement, and understanding of texts. The document provides examples of pedagogical approaches like "Tell Me" grids that encourage analyzing films' characters, settings, and stories. It also summarizes research finding positive impacts of moving image education on literacy, enjoyment, and confidence.
This document discusses using short films to enhance literacy education. It argues that short films can make learning more active, connect classroom learning to students' lives outside of school, and deepen understanding of texts. Short films allow students to analyze elements like character, setting, story, symbolism, and film techniques. The document provides examples of activities like using "Tell Me" grids to discuss films, stopping and starting films to pick out details, and predicting what will happen next. It aims to show how analyzing short films can improve students' creative, critical and cultural understanding, and help develop literacy in the 21st century.
Film literacy in a contemporary landscapemarkreid1895
The document discusses the importance of film literacy and incorporating moving images into education curricula. It argues that film is the dominant art form of the 21st century and students need skills to engage with and understand film. Currently, film education varies between countries and regions with some placing more emphasis on it than others. The document advocates for taking a broader view of literacy to include moving images and considering how different forms of representation, like film, can stimulate different cognitive skills in students.
Final analysis of the film education surveymarkreid1895
This document summarizes the results of a survey on film education in Europe. 58 organizations responded from various European countries. The survey found that most organizations operate at a national level and focus on screenings and workshops. The most inspiring external project was "Cinema, Cents ans de jeunesse". The top purposes of film education according to respondents were the promotion of film as an art form and developing film literacy.
This document summarizes the responses from a survey of various film organizations regarding film education strategies. The survey found that the main goals of organizations were to develop critical understanding and engagement with film, as well as ensuring access to film for young people. Common projects involved screenings, workshops, and online resources. Key challenges identified were lack of teacher training, funding issues, and film education not being prioritized in school curricula.
This document outlines the structure and content for a filmmaking course focused on analyzing and creating situations. The course will run for 12-25 weeks and include viewing film clips, discussions, and completing exercises and a final film project centered around situations. Students will analyze situations through examining elements like character, setting, camerawork, and emotions. They will complete exercises filming situations without dialogue, between two characters linked to an emotion, and a final film where a situation changes over time, shifting viewer identification.
Scheme of Work for "Situation': CCAJ 2018/19markreid1895
This document outlines a sample structure for a cinema club program called "Cinemacent ans de jeunesse" over 25 weeks between November and May. The program focuses on exploring film techniques and analyzing how films portray different situations. It includes introductory discussions, exercises analyzing situations in paintings and filming short scenes, a screening of a full-length film, and culminates in students filming their own short films over 5-8 minutes about a changing situation.
This document discusses using short films to teach foreign languages to children. It describes how films provide a culturally rich context that engages children. Short films are preferable because they are new to children, manageable in length, and often high quality productions. The document outlines pedagogical approaches like using "Tell Me" grids to discuss a film's characters, setting, story, and mood in the target language. It also describes an ongoing program from the Cinematheque Francaise where children watch and discuss films together in multiple languages.
1. The document discusses film education in the UK context, where film is taught to varying degrees across England, Scotland, Northern Ireland, and Wales.
2. The BFI works in this context through programs like Into Film, which focuses on after school film clubs, and the BFI Film Academy, which provides industry skills training.
3. The document discusses different models of film education, from film literacy to film as a creative art form, and argues that unfortunately no European curriculum requires the study of film for its own sake for all students.
This document discusses film education in the UK context and models of film education. It provides an overview of film education in different parts of the UK and how the BFI works to support film education through various programs. These include Into Film, which focuses on after school film clubs, and the BFI Film Academy, which provides industry skills training. The document also discusses debates around using film to support literacy versus treating film as an art form. It outlines several potential models of film education, including using film for vocational skills, media literacy, creative expression, civic education, and audience development. The document argues that film education can enable unique types of thinking as described by Elliot Eisner, including flexible purposing and using material as
The document discusses key lessons and insights from a mid-term review of a filmmaking project focused on representing places. Some of the challenges discussed include balancing the representation of place with narrative elements, distinguishing between unique places and more generic spaces, and how to present places as characters. Younger students sometimes focused more on themselves while older students erased themselves to immerse the viewer in the place. The films created showed how places can be represented in evocative ways through imagery, sound, and fictionalized human testimony about the place.
The document discusses how imagination, creativity, and moving images can help find things we don't know we're looking for. It notes that if our only tool is a yardstick, we will only look for what can be measured. The arts can slow down perception, invite exploration, and give permission to play. Looking and listening closely to images, stories, and the world around us can lead to surprises. When teaching, it is important to slow children's perceptions, explore the potential of film, use constraints in creative tasks, help children closely examine their creations, and make room for surprise.
This document provides a 23-week curriculum plan for a project on Places and Stories for schools participating in research looking at how the project may improve writing skills. The plan involves weekly themes where students will view film clips, do activities and exercises to explore how places are portrayed in films and can inspire stories. They will film short videos of places and add elements to portray different times. The final weeks involve planning, filming and editing a short film where a character brings another to a place that elicits an emotional response.
This document outlines the structure and exercises for the 2017/18 edition of the Le Cinéma, cent ans de jeunesse film program, which focuses on the theme of "Places and Stories." The program involves both watching film clips and discussing them, as well as completing three short filmmaking exercises and a final film project about a character bringing another character into a place that elicits an emotional response. The exercises are meant to explore different types of places that can tell stories through film and how places are represented.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
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A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
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it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
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This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
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Goldsmiths PGCE Presentation sept 16
1. Writing film and the‘cinematic
voice’
Mark Reid, BFI
Goldsmiths PGCE 27 September 2016
http://bit.ly/1Vwh2jh
2. Consider the implications of the relationship between
forms of representation for the selection of content in
the school curriculum. Learning to use particular forms
of representation is also learning to think and represent
meaning in particular ways. How broad is the current
distribution? What forms of representation are
emphasized? In what forms are students expected to
become “literate”? What modes of cognition are
stimulated, practiced, and refined by the forms that are
made available?
Eliot Eisner, The Arts and the Creation of Mind
3. the reader in
the writer
The Creepy House
It is an abandoned house, its
windows battered by the wind.
Nobody has ever lived in there
It’s covered in white snow
making it look like a strangely
shaped polar bear, frozen
forever. And if you walked past
it you would see a little gate
buried in the snow.
4. Developing the cinematic voice
“Is it possible to teach children to be more creative?”
Nelson Goodman: “… … …Yes”
“So how do we do that?”
“… … Set them harder problems.”
5. From the cinematic to the Cinémathèque:
Cinema Cent Ans de Jeunesse
• 20 year-old programme
• Watching, making, understanding: ‘film thinking’
• Aesthetic themes: mise en scene; long take; camera movement;
montrer/ cacher
• Dirigiste and French (‘les regles du jeu’)
• ‘cinema of authenticity’: no animating, zooming, pretending, or
extraneous music; child’s eye view
6. 2011 - Montrer/ Cacher
Typology – Types of Showing/ Hiding
• Hiding in the frame
• Using offscreen space
• Filming actors’ backs
• Using shadows, screens, negative
space
• Narrative ellipsis
• Narrative secrets
• Dramatic irony
7. 2011 - Montrer/ Cacher
• Cat People (USA, Jacques Tourneur
1942)
• The Circle (Iran, Jafar Panahi, 2000)
• He Dies at the End (Damian
McCarthy, Youtube)
• Elephant Man (David Lynch, 1982)
• Virus (Simon Hynd, 2002)
• Moonfleet (USA, Fritz Lang, 1955)
• Creature from the Black Lagoon
(USA, Jack Arnold,1954)
and about 40 others!
10. 2011 - Montrer/ Cacher - exercises
1 Film an action completely in close-up (total duration no more than
3 minutes and 8 shots maximum). Indicative story line: ‘Person A
moves from space into another adjacent space, then gives
something to Person B. You choose what is given (a codeword; a
kiss; a curse; a gift; a warning) and which spaces you use.
2 Film a complete short scene (maximum 3 minutes) where someone
in shot reacts against something or someone outside the shot,
which we never see but know of through sound, light, reaction
shots and the direction of the gaze, or a reflection
12. 2011 - Montrer/ Cacher - ‘film essai’
Indicative scenario: Two secrets, of which one is revealed, the
other withheld.
The main rule, which shouldn’t be given to the students until
after they have scripted their scenario:
Once the scenario has been written, students have to choose
one of the key scenes that will not be shown. The scene should
still play an important role in the story, but won’t be filmed, just
suggested (through an ellipsis, or use of offscreen sound,
reflections, camera movement which hides or reveals, or a
substitution of action in the edit)
13.
14. ‘Originally we tried two stories, one about a
girl being bullied, but we thought it
wouldn’t work out because there wouldn’t
be something missing’, ‘so Mrs Liley said
why don't we all go home and write a
storyboard and choose the best’.’ We chose
Darcy’s because we liked it the most, then
we all helped improve it.’
1 It wasn’t their first idea
15. ‘originally we put the [opening] shot
in the middle but we thought it was
boring. So we put it at the
beginning to put more tension in.’
‘We put the shot of the bag before
the boy comes past on his bike’.
2 They changed the order of shots, in
the edit:
16. ‘both [groups] edited a version of the
film and we had a vote on which was the
best.’
3 They made different edits:
17. ‘the wind was blowing really strong
and it sounded a bit.. creepy.’
4 They paid attention to the sound:
18. ‘We kept doing [bike] skids, about 20
skids, trying to get it right.’
‘We were told to film each shot 3 times
and choose the best’.
‘We were filming from different
positions all the time’
5 They repeated lots of shots and
actions many times:
19. ‘we were going to have him like
gasping, or ‘what’s that doing there?’
but I just thought it, I don’t know why,
he goes past it [the bag] and he goes
back to it’.
‘If you’d had him saying ‘oh what’s
that’ it would have made it sound put
on.’
6 They used images where possible,
not dialogue:
20. ‘Mrs Liley said there can be a bit of
speech, but not loads.’
And they had to have a secret in the film
that wasn’t revealed: ‘I didn’t like to
think about what happened at the end,
so I just kept it secret.’
7 They worked within constraints:
21. ‘Mr Dickinson showed us how to use the
Macro [lens] .. we thought we’d have a go with
it.. you see Holly in the background, blurred,
and I thought it looked cool.’
8 They used the technology in
cinematic ways:
22. ‘we slowed [the film] down when Adam
comes in the door but we didn’t want to
slow it down when he says ‘Mum’; ‘It’s
supposed to be serious’.
9 They were making a serious film:
24. How (un)like traditional literacy is this?
• Collaborative; a whole story-world generated and sustained
by a group of people (actually 6 people, plus Mrs Liley and Mr
Dickinson, and Luke’s mum).
• Uses resources taken from their world: bedrooms, kitchens,
green space, neighbourhood streets, bikes and school bags
• It requires quite sophisticated (but more and more
accessible) technology
• It shows (and withholds) rather than tells. Film tends
towards showing as a medium, rather than telling.
• The pedagogy of constraints, play and experiment, of re-
taking shots, of trial and error, making different edits
• It’s a complete piece of work, not a story opening or extract
25. Could every child be enabled to tell stories in
this way? And if so, what needs to change?
More live action film work
A wider range of expressive resources
Constraints and learning frameworks
A wider range of viewing
26. Consider the implications of the relationship between
forms of representation for the selection of content in
the school curriculum. Learning to use particular forms
of representation is also learning to think and represent
meaning in particular ways. How broad is the current
distribution? What forms of representation are
emphasized? In what forms are students expected to
become “literate”? What modes of cognition are
stimulated, practiced, and refined by the forms that are
made available?
Eliot Eisner, The Arts and the Creation of Mind
27. What if all children were able to tell stories - and share ideas,
and develop arguments - using film, regularly in the
curriculum?
What different kinds of thinking would be made possible?
How would subjects be changed?
What new skills would be developed?
And most of all, what consequences would these changes
have for education, for culture, for us?
28. Cinema Cent Ans de Jeunesse/
Understanding Cinema
2015/16 ‘Le Méteo’
Understandingcinema.wordpress.com
Markreid1895.wordpress.com
http://bit.ly/1Vwh2jh