Sight & Sound is a British film magazine published by the BFI that features independent and art house films. It reviews films analytically as an art form for an intellectual audience. Each film review has four areas: a picture, critical review, credits, and short synopsis. The picture is usually a still frame or photo from the film. The review is written formally with references to other works, directors, genres, and awards. It explores the narrative, themes, and quality of directing and performances. The synopsis clearly outlines the beginning, middle, and end of the film's narrative in third person. The credits are organized into columns with titles in bold and names not bold and in a smaller font size.
El Parque Natural de Gorbeia (con la mítica Cruz en la cima), los embalses de Urrunaga y Ullíbarri-Gamboa, las cuevas de Mairuelegorreta, un pedacito del Parque Natural de Urkiola... La naturaleza se desborda en Gorbeia, el destino turístico que comparten Álava y Bizkaia y que está enmarcado en la Cuadrilla de Zuia (Gorbeia sur, Álava) y en la Comarca de Arratia-Nerbioi (Gorbeia norte, Bizkaia).
Acting and Acting StylePrepareAs we have been discussing, .docxnettletondevon
Acting and Acting Style
Prepare
As we have been discussing, the mise en scène of a film is the use of a variety of design elements to create the visual theme. As you prepare to write this discussion, take a few moments to do the following:
· Read any required and recommended reading materials for this week, especially Chapter 5 (Mise en Scene and Actors).
· Review the grading rubric for this discussion.
· Select a full-length film from the AFI 10 Top 10 list.
Reflect
Mise en scène refers to different technical elements used in making a film such as lighting and sound, both of which you have already analyzed in this course. The term also encompasses the role of actors in a film, their physical positioning and movements within the frame, as well as the different styles and types of acting.
You can classify an acting category using only one film as reference, but these categories are subject to change. Each new role helps to clarify or shift an actor’s designation. Do some actors always fall into the same category? How can actors change from category to category? Does genre have any effect on the acting styles present in a given film?
Write(due Thursday, Day 3)
Please view the video Adding Pictures and Video to Discussions and Introductions for guidance on how to integrate multimedia with your response.
Using specific examples from your chosen film, write an initial post of at least 200 words which should
· Identify three actors from your film and classify each according to the acting category listed in your text.
· Explain your reasons for classifying the actors as you do. Use specific references to the film and pay special attention to how these decisions impacted characterization. Also, consider the impact of any realistic or stylized portrayals within the film.
· Focus on one of the actors you’ve discussed. Based on other films the actor has been in, would this actor always be placed in the same category? If so, what does this say about the category or actor? If not, what can you infer about the flexibility of these categories? Provide evidence (references from other films, including film clips and stills) to support your argument.
You must use at least two outside sources, in any combination of embedded video clips, still photos, or scholarly sources. All sources should be documented in APA style as outlined by the Ashford Writing Center.
Respond to Peers(due Monday, Day 7)
Respond to at least two classmates who chose different actors or different categories than you did. In your responses, reference your initial post and show how your ideas relate to those of your peers. Your responses should be 150 to 175 words each.
Please view the video Accessing Feedback in the Gradebook for guidance on how to review your instructor’s feedback when the post is graded.
The Cinematic Auteur
Prepare
As you prepare to write this discussion, take a few moments to do the following:
· Review the Modeled Discussion.
· Read any required and .
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Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
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Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
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A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
1. Analysing the Sight & Sound Magazine Film Review
Sight & Sound is a monthly film magazine that is published by the British Film
Industry (BFI). The magazine features international, independent and art house
films. It caters for an intellectual audience who possess an analytical interest,
subsequently as they tend to view films as an art form.
Form and Style
The layout of a film review within the Sight & Sound magazine is extremely
basic, but intellectual. There are four individual featured areas for each film,
which consist of:
A picture
A critical and academic film review
Column structured credits
Short synopsis
Codes and Conventions
Picture - The featured picture is usually a still frame image from the film or an
original photograph of the protagonist or the protagonist with another main
character. The size of the picture varies, but it is always a quadrilateral –square
or rectangle.
Film Review - Written in formal language and will almost certainly include
references and comparisons to directors other work. Many reviews have
referenced and compared the work of a director to the works of others from
within or outside of the same genre. The review can make direct or indirect
references to the genre and reference to a wider media context. The author
may implement references to festivals, where the film has been exhibited and
to the awards it may have received. Furthermore, there are always references
to the casting.
2. The author of the review will explore the narrative to identify
interpretation relating to the plot, characterisations and stylistic elements.
Furthermore, references to key areas of representation help to establish the
key themes and issues that are present within the film. The review will also
comment on the quality of the films, directing and performances.
The length of a review will vary, but it is presented in the form of
indented paragraphs with no line space between each paragraph. The font size
of the text is approximately 12 and the style of the font, I believe it to be is
Sans Serif.
Film Synopsis – Small detailed synopsis that contains a clearly structured
beginning, middle and an end. The narrative is written from a third person
perceptive, with simple, but effective language. Each sentence drives the
narrative forward and adjectives are used to clarify the information about the
nouns. The opening describes the location and initial time, followed by the
introduction of a protagonist. Other main characters are introduced and their
relationship to the protagonist is then established. The middle of the synopsis
identifies the problems/conflicts, whilst also producing a solution and the
resolution is always at the end.
Conventionally, the style of the synopsis is blocked typography that is
positioned onto a pale grey background. The size of the font is smaller, but
bolder than that of the film review.
Credits - These are organised into neat columns and displayed on a light grey
background. The crediting titles are in a bold format, whilst the names of
recognition are not. The size of the text is smaller than that of the film review
and synopsis. The title ‘Cast’ in the credit list has been given a different format.
It is displayed in a larger, bold font to the other titles and its identification
colour is a darker hue of grey to that of its background. The credit list follows a
particular structure, commencing with the producer and finalising with the
distributor.
