Film Unit
English 1-2 Curriculum Guide
Version 1.0: September 2009
Table of Contents: Film Unit
Activity
Page #
Introduction to Unit
3
Unit Template with Learning Plan
4
Student Progress Monitoring
7
Academic Vocabulary
9
Pre-assessment
10
Film 101
12
Working with Film Terminology Part One
14
Application of Film Terminology
19
Working with Film Terminology Part Two
20
Edward Scissorhands:
Previewing and Viewing Days A-D
24
Storyboard Prediction Activity
33
Crooklyn:
Previewing and Viewing Days 1-4
44
Writing topic and thesis statements: Crooklyn
64
Culminating Assessment: Writing a Film Essay
67
Differentiation
71
Resources
72
2
Introduction
There is a reason why I love to teach film to young people that I rarely tell my
students about. What I have found is that when students work with movies and learn how
to analyze them, their analytical abilities for all texts, including print texts, seem to
improve. There is a genuine transfer of skills between film and other texts. Once students
can discuss, say, theme, tone, conflict, symbol, and foreshadowing with film, they can
readily apply these abilities to short stories, novels, essays, etc. So, in a sense, I trick
them into some really good analytical skills by working first with what they enjoy and
then transferring those skills to other texts we need them to be able to analyze critically.
But this means that when we teach film we need to do so actively. Just as we do
not ask students to read all of The Great Gatsby and expect them to be able to tell us
about all the important themes, we cannot simply show a film in its entirety and expect
students to discern the film’s messages. We have to prepare our students for the text, we
need to stop and discuss the film at various times, and we have to give them the
opportunity to have them write and reflect on it afterwards. We need to ask our students,
for example, to analyze the films critically by examining the cinematic and theatrical
elements that directors use for particular effects.
Kids often complain that after learning to view films critically that have lost their
enjoyment of film forever because as they watch movies now, they are always
unconsciously analyzing them. I tell them that just as your enjoyment of watching
football increases when you understand what 4th down and 20 to go means, so too is it
with film. Thinking about, writing about, and discussing films can be just as fun as
watching them. When you become aware of all the elements that go into a film, your
level of enjoyment only increases. Films matter to us because they have become such a
large part of the world around us; it only makes sense to try to understand them as much
as possible.
John Golden
TOSA-Rice
jgolden@pps.k12.or.us
3
Film Unit Template
Stage 1: Desired Outcomes
Priority Standards:
9.05 Infer an author’s unstated ideas, analyzing evidence that supports those unstated ideas and
make reasonable generalizations about text.
9.07. Analyze characterization.
9.08. Describe the function and effect upon a literary work of common literary devices
9.11. Develop a thesis, providing connections and insights.
9.11. Provide details/examples to support ideas developed into separate paragraphs.
9.13. Support interpretations of literature through the use of textual references
9.18. Make informed judgments about television, radio, and film productions.
Understandings:
Students will understand that…
 Film directors use cinematic elements to
Essential Questions:

create effect, specifically theme and tone.


Characterization is developed through
dialogue, actions, and costume choices


Challenges we face as we “come of age”
have similarities across time and culture.
How does film present its stories similarly
and differently from print texts?
What does it feel like to be an outsider?
What are the factors that cause this?
What are the steps adolescents need to take
as they assume more adult responsibilities?
Students will know:
 The definitions of the main cinematic
elements: framing, lighting, sound, angles,
and editing.
 The aspects of characterization
Students will be able to:
 Explain how the director’s choices of
cinematic elements affect theme and tone
 Write a effective topic and thesis
statements about theme and tone


The definition of theme and tone
Provide evidence to support thesis and
topic sentences
Stage 2: Assessment Evidence
Culminating Assessment
Other Evidence
(learning task)
Students will write an analytical essay with
an effective introduction, a clear thesis,
body paragraphs with strong topic
sentences and supporting examples, and an
effective conclusion about how the director
of one of the films watched in class creates
the theme or tone through the choices of
cinematic elements.
1. Daily note taking on each film
viewed.
2. Topic sentences and short
paragraphs.
3. Home base group discussions
4. Optional storyboard activity
4
Stage 3: Learning Plan
Activity Title
Priority Standards
Page
Pre-Assessment
9.08. Describe the function and effect upon a literary work
of common literary devices
9.11. Develop a thesis, providing connections and insights.
9.11. Provide details/examples to support ideas developed
into separate paragraphs.
9.13. Support interpretations of literature through the use of
textual references
10
Film 101
9.08. Describe the function and effect upon a literary work
of common literary devices
9.18. Make informed judgments about television, radio, and
film productions.
12
Working with Film
Terminology Part
One
9.05 Infer an author’s unstated ideas, analyzing evidence that
supports those unstated ideas and
make reasonable
generalizations about text.
9.13. Support interpretations of literature through the use of
textual references
14
Application of Film
Terminology
9.18. Make informed judgments about television, radio, and
film productions.
19
Working with Film
Terminology Part
Two
9.05 Infer an author’s unstated ideas, analyzing evidence that
supports those unstated ideas and
make reasonable
generalizations about text.
9.13. Support interpretations of literature through the use of
textual references
20
Edward
Scissorhands:
Previewing and
Viewing Days A-D
9.05 Infer an author’s unstated ideas, analyzing evidence that
supports those unstated ideas and
make reasonable
generalizations about text.
9.07. Analyze characterization.
9.08. Describe the function and effect upon a literary work
of common literary devices
9.11. Develop a thesis, providing connections and insights.
9.11. Provide details/examples to support ideas developed
into separate paragraphs.
9.13. Support interpretations of literature through the use of
textual references
9.18. Make informed judgments about television, radio, and
film productions.
24
Storyboard
Prediction
(after Day B)
9.05 Infer an author’s unstated ideas, analyzing evidence that
supports those unstated ideas and make reasonable
generalizations about text.
33
5
Activity Title
Priority Standards
Page
Crooklyn:
Previewing and
Viewing Days A-D
9.05 Infer an author’s unstated ideas, analyzing evidence that
supports those unstated ideas and
make reasonable
generalizations about text.
9.07. Analyze characterization.
9.08. Describe the function and effect upon a literary work
of common literary devices
9.11. Develop a thesis, providing connections and insights.
9.11. Provide details/examples to support ideas developed
into separate paragraphs.
9.13. Support interpretations of literature through the use of
textual references
9.18. Make informed judgments about television, radio, and
film productions.
44
Writing topic
and thesis
statements:
Crooklyn
9.11. Develop a thesis, providing connections and insights.
9.13. Support interpretations of literature through the use of
textual references
64
Culminating
Assessment:
Writing an
Analytical Essay
9.05 Infer an author’s unstated ideas, analyzing evidence that
supports those unstated ideas and
make reasonable
generalizations about text.
9.08. Describe the function and effect upon a literary work
of common literary devices
9.11. Develop a thesis, providing connections and insights.
9.11. Provide details/examples to support ideas developed
into separate paragraphs.
9.13. Support interpretations of literature through the use of
textual references
67
6
Student Progress Monitoring: Film Unit
Student
9.05 Infer an author’s
unstated ideas,
analyzing evidence
that supports those
unstated ideas and
make reasonable
generalizations about
text.
9.08. Describe the
function and effect upon
a literary work of
common literary devices
9.11. Develop a thesis,
providing connections
and insights.
9.13. Support
interpretations of
literature through the
use of textual references
E
E
E
E
M
D
n/e
M
D
n/e
7
M
D
n/e
M
D
n/e
E
M
D
n/e
Student
9.05 Infer an author’s
unstated ideas,
analyzing evidence
that supports those
unstated ideas and
make reasonable
generalizations about
text.
9.08. Describe the
function and effect upon
a literary work of
common literary devices
9.11. Develop a thesis,
providing connections
and insights.
9.13. Support
interpretations of
literature through the
use of textual references
E
E
E
E
M
D
n/e
M
D
n/e
8
M
D
n/e
M
D
n/e
E
M
D
n/e
Academic Vocabulary
The vocabulary used extensively in this unit:
Analysis
Characterization
Cinematic elements
Effect
Setting
Supporting examples
Theatrical elements
Theme
Thesis statement
Tone
Topic sentences
9
Pre-assessment for Film Unit
Time: one class period
Objective: to determine students’ prior knowledge of the effects of cinematic choices
and to determine how effectively students can write about a filmmaker’s cinematic
choices.
Materials: a short (3-5 minutes) film clip that includes a variety of cinematic elements
with a clearly identifiable theme or tone. It is best if you select a film that most students
have not already seen. Suggested clips might be:
 Othello (Orson Welles, 1950. 1.15.03-1.18.07)
 North by Northwest (Alfred Hitchcock, 1958. 1.05.49-1.15.10)



Philadelphia (Jonathon Demme, 1993. 0.22.11-0.29.35).
Apocalypse Now (Francis Ford Coppola, 1979. 0-0.07.27) Rated “R” Please be
aware that there is one curse word and a scene of a man drinking alcohol
recklessly.
Citizen Kane (Orson Welles, 1941. 0-0.02.49)

The Color Purple (Steven Spielberg, 1985. 0.19.41-0.22.48)
Steps:
1. Have students take out two blank pieces of paper; they should label one as
“Notes” and the second as “Response.”
2. Play the clip one time giving students only enough background of the film so that
they can understand the context of the clip. Direct them to watch carefully, but not
to write anything on their papers.
3. Play the clip a second time, this time, ask them to take notes on “whatever the
director is doing to create meaning or to create a feeling.” You should prompt
them to consider aspects such as music, lighting, and what the camera does or
shows.
4. Next, ask them to take their second sheet of paper and to respond to the following
prompt: “What effect is the director of the film trying to achieve or create with in
this clip? How does he or she achieve or create this effect?” Direct them to write a
topic sentence and to include support for that topic sentence.
5. When you assess their responses, consider two separate topics: how well they can
interpret the film and how well they can write about it. Use the guide on the next
page, and be sure that students have an opportunity to reflect for themselves on
how well they did. Also, after students have been exposed to and have had an
opportunity to practice with the film terminology, you might want to return to this
pre-assessment by re-viewing the clip, and asking students to revise their
responses.
10
Scoring Guide for Film Unit Pre-Assessment
Priority
Standard
6-5
4-3
2-1
9.08. Describe
the function and
effect upon a
literary work of
common literary
devices
Makes an
exceptionally clear
connection between
the cinematic choices
the director makes
and the intended
effect toward theme,
characterization, tone
or other literary
element.
Identifies that the
director is making
specific choices for
particular effects, but
the connection is not
fully clear. A literary
element, such as
theme or tone may be
identified, but the
function and effect of
the choices is not
clear.
At this point the
response is mainly a
summary of the
action or the plot of
the film. There is not
a connection yet
between the choices
the director makes
and the intended
effect.
9.11. Develop a
thesis, providing
connections and
insights.
The topic sentence is
a clear and insightful
connection between
the choices and the
effects. It relates
directly to the
response that
follows.
There is a clear
understanding of the
purpose of a topic
sentence, even if the
execution of the
sentence is not fully
successful because of
a lack of connection
or a lack of clarity.
Either there is no
topic sentence or the
sentence at this point
does not make a
provable statement.
9.13. Support
interpretations of
literature through
the use of textual
references
Even in this short
response there are
several effective
examples offered to
support the topic
sentence. The
examples are fully
explained.
The response
includes appropriate,
if somewhat limited,
examples from the
film clip. The
examples may not be
fully explained at
this point.
At this point, the
response does not
include any specific
examples from the
film clip to support
the topic sentence.
11
Film 101 Activity
Materials
 Samples of film reviews
Purpose
 To discover students’ interests in films
 To explore, critique, and evaluate students’ choice of a film
 To compose a letter with a clear purpose and audience
Steps
1. Ask students to fill out the Film Survey. When the survey is completed, lead students through a wholeclass discussion, soliciting their responses from the survey.
2. Ask students to share their lists of the top five best films ever made and discuss the rationale behind their
choices. Then group students and direct them to compile one list of the top five films that will represent
the group.
3. As part of an anticipatory set, students will engage in a focused discussion to determine whether they
agree or disagree with each group’s top-five list. Each group will read its list beginning with number five
and ending with number one. If the majority of students agree with the selections then you can proceed.
If not, ask students to defend their choices orally and allow a rich discussion (mini-debate) to occur.
4. After students participate in a healthy discussion, they should have a wide variety of films to choose from
for the next activity. Students will be asked to find a movie review for a film of their choice. This review
can come from a newspaper, a magazine, or an Internet source such as www.Mrqe.com. It would be
helpful to bring in sample reviews of films with which students are familiar. Discuss the difference
between a review and an advertisement or synopsis.
5. Allow students to read several reviews in class. Then, select one review to read closely. Think aloud
with students as you consider and react to the reviewer’s comments. Identify the reviewer’s opinions and
discuss whether the class agrees or disagrees with them. As a class, allow students to brainstorm possible
comments they would make if they could send a letter to the reviewer. Ask them to consider areas of
agreement or disagreement and the reasons for their opinions.
6. Ask students to find a movie review for a film of their choice. Students should read and make meaning
from the film review and respond to the review in the context of a letter. Their assignment is to write a
letter to the critic and critique the analysis. Ask students to consider whether they agree or disagree with
the review and provide rationale for their opinions. If necessary, review the components of a business
letter (salutation, greeting, body, and conclusion). If possible, students may mail their letters to the film
reviewer.
12
Film 101
Survey
1. Approximately how many movies do you watch a month (on DVD or Cable or in a theater)?
2. What are your favorite types of movie? Explain.
3. What are your least favorite types of movie? Explain.
4. Rank the top five best films ever made, in your opinion.
5. What kind of movies do your parents or guardians like to watch? How often do you watch
movies with them?
6. What are the differences between watching a movie at home and watching in a theater?
7. What kind of movies do you watch in school?
8. What are you normally asked by the teacher to do while or after watching a movie in school?
13
Working with Film Terminology Part 1
Materials
 8 × 11 Construction paper
 11 × 22 Construction paper
 Magazines and glue sticks
Purpose
 To give students the language and confidence to talk about film
 To introduce students to film terminology in context
 To identify and create a product that conveys an understanding of film concepts
Steps
1. Students will be exposed to a wide array of film terms that will enable them to analyze film. In an effort to
understand how a camera works, they will manipulate a paper camera to gain a kinesthetic context of the
film terms.
2. Instruct students to roll a sheet of construction paper into a tube and hold it up to their eye like a telescope.
After students have completed this task, expose students to the film terminology and ask them to
manipulate the paper camera as if it were a real camera. For example, ask a volunteer to stand in front of
the class to be the subject of students’ frame.
 To get a long shot, students will have to unroll the pages to create a large lens in order to get a shot of
the student’s full body. Ask them what this shot enables the viewer to see.
 Next, ask students to decrease the size of the lens on the paper camera to get a medium shot (from the
waist up). Ask students to consider why a director might choose to use this shot. Further, what does
this shot unveil to the viewer?
 Next, ask students to decrease the size of the lens of the camera to get a close up shot (capturing only
the face). Ask students to consider why a director might use this shot.
 Finally, ask students to roll their paper camera tighter in an effort to zoom into an extreme close up
(focusing on one specific aspect, for example, an eye or ear). Again, ask students why a director might
choose this shot.
 The paper camera can be adjusted to resemble many different shots, angles, and camera movements.
For example, a pan may be demonstrated by turning your head from left to right, and a low angle may
be demonstrated by sitting on the floor and “filming” a clock up on the wall.
 There are many other movements that you could direct students to do to give them a conceptual
understanding of how to apply these film terms. As you expose students to many of these terms, ask
them why these shots, angles, and movements might be used. Engage students in a discussion about the
similarities between an author’s purpose and a director’s choices.
14
Working with Film Terminology Part 1
(continued)
3. After students have had an opportunity to practice the film terms, direct them to the film terminology
student page and lead them through a discussion about the different terms. Provide students with a brief
explanation of why and how directors use many of these shots, angles, and camera movements. Enable
students to mark the text and take notes in the margin as you expose them to the film terminology.
4. Next, ask students to search through old magazines on a scavenger hunt to find examples that demonstrate
their understanding of different shots and/or lighting. Students should create a collage of pictures that are
sectioned off and clearly labeled for the viewer. If students have access to real video cameras, they can
create a film terminology video presentation that identifies and displays an array of film terms in
application.
15
Film Terminology
Shots and Framing
Shot: a single piece of film uninterrupted by cuts.
Establishing Shot: often a long shot or a series of shots that sets the scene. It is used to
establish setting and to show transitions between locations.
Long Shot (LS): a shot from some distance. If filming a person, the full body is shown. It may
show the isolation or vulnerability of the character (also called a Full Shot).
Medium Shot (MS): the most common shot. The camera seems to be a medium distance from
the object being filmed. A medium shot shows the person from the waist up. The effect is to
ground the story.
Close Up (CU): the image being shot takes up at least 80 percent of the frame.
Extreme Close Up: the image being shot is a part of a whole, such as an eye or a hand.
Two Shot: a scene between two people shot exclusively from an angle that includes both
characters more or less equally. It is used in love scenes where interaction between the two
characters is important.
Camera Angles
Eye Level: a shot taken from a normal height; that is, the character’s eye level. Ninety to ninetyfive percent of the shots seen are eye level, because it is the most natural angle.
High Angle: the camera is above the subject. This usually has the effect of making the subject
look smaller than normal, giving him or her the appearance of being weak, powerless, and
trapped.
Low Angle: the camera films subject from below. This usually has the effect of making the
subject look larger than normal, and therefore strong, powerful, and threatening.
Camera Movements
Pan: a stationary camera moves from side to side on a horizontal axis.
Tilt: a stationary camera moves up or down along a vertical axis
Zoom: a stationary camera where the lens moves to make an object seem to move closer to or
further away from the camera. With this technique, moving into a character is often a personal or
revealing movement, while moving away distances or separates the audience from the character.
Dolly/Tracking: the camera is on a track that allows it to move with the action. The term also
refers to any camera mounted on a car, truck, or helicopter.
Boom/Crane: the camera is on a crane over the action. This is used to create overhead shots.
Lighting
High Key: the scene is flooded with light, creating a bright and open-looking scene.
Low Key: the scene is flooded with shadows and darkness, creating suspense or suspicion.
16
Bottom or Side Lighting: direct lighting from below or the side, which often makes the subject
appear dangerous or evil.
Front or Back Lighting: soft lighting on the actor’s face or from behind gives the appearance of
innocence or goodness, or a halo effect.
Editing Techniques
Cut: most common editing technique. Two pieces of film are spliced together to “cut” to another
image.
Fade: can be to or from black or white. A fade can begin in darkness and gradually assume full
brightness (fade-in) or the image may gradually get darker (fade-out). A fade often implies that
time has passed or may signify the end of a scene.
Dissolve: a kind of fade in which one image is slowly replaced by another. It can create a
connection between images.
Wipe: a new image wipes off the previous image. A wipe is more fluid than a cut and quicker
than a dissolve.
Flashback: cut or dissolve to action that happened in the past.
Shot-Reverse-Shot: a shot of one subject, then another, then back to the first. It is often used for
conversation or reaction shots.
Cross Cutting: cut into action that is happening simultaneously. This technique is also called
parallel editing. It can create tension or suspense and can form a connection between scenes.
Eye-Line Match: cut to an object, then to a person. This technique shows what a person seems
to be looking at and can reveal a character’s thoughts.
Sound
Diegetic: sound that could logically be heard by the characters in the film.
Non-Diegetic: sound that cannot be heard by the characters but is designed for audience reaction
only. An example might be ominous music for foreshadowing.
Storyboards
These are a series of drawings — or photographs — that a director creates before the movie is
filmed to help the director to visualize what will appear later on screen. Often, lighting, dialogue,
framing, and other elements of the shot will be noted as well. These individual drawings or
photographs are then arranged in sequence to create a final storyboard. Later in this unit you will
be asked to create your own storyboard.
17
Notes About Shots
The following information is designed to assist the teacher and provide background information
for the teacher before he or she presents the terminology lesson with students.
We have seen how the point-of-view shot works to put the spectator literally in the very place of
the character and thus to secure psychological identification with that character. This is only one
of the devices by which the cinema seeks to manipulate and control how the spectator feels and
what he or she is thinking. Other types of shot articulations (what cinematic moves are called in
critical discussion) do the same thing. For example, in the shot-reverse-shot sequence, the
spectator occupies alternately the position of now one character in the dialogue, now the other
character, thus switching identifications every few seconds without really knowing it. Another
type of shot that has the effect of manipulating the viewer is without doubt the close-up. In the
early years of the cinema, there were no close-ups, only long shots, so that the spectator was
always held at a good distance from the characters; this distance worked against the identification
processes that modern cinema seeks to encourage.
When you see a close-up, for instance, you have the sense of being in very intimate connection
with the character, close indeed to him or her emotionally and thus able to register and even feel
directly what he or she is going through. That sense of closeness is, of course, illusory, since in
actuality you are situated in a seat some distance away from the face on the screen, not only in
space but also in time. (Just think of the fact that the actor has done this performance not at the
present time, before your eyes, as it may seem, but in a different place many weeks, months, or
even years before the date at which you view the film. The actor or actress is thus not even
“present” to you; only a shade or delegate is.) But the close-up more than anything else in cinema
can elicit reactions from you by making you feel that you are up there on the screen, a part of the
proceedings, and not there in your seat.
A zoom, which is a movement of a long focal lens — not of the camera itself — either in toward
an object or out away from that object is a cinematic articulation that you probably have seen
many times. It is the refocusing of your eye that you instinctively do when you instantly turn your
attention from one thing to another; it registers exactly this kind of sudden turning of attention, as
if your very eyes have noticed something and focused in on it, or indeed pulled back from it, and
in this way, the zoom imitates the patterns of your mind and your vision. Similarly, the pan gets
you to turn your neck, so to speak, without moving your head; via the dolly, you walk forward,
backward, or to the side without leaving your seat, etc. These are the ways by which the camera
enlists your attention and your response, and because they seem so “natural” — just the ways in
which you are used to seeing in everyday life — you hardly notice that you have been captivated.
A film audience does not want to be conscious of the fact of projection, does not want not to see
the screen but rather the magical unfolding of the images, does not want to have to think about
the machinery or projection, for that too interferes with its total absorption in and captivation by
the film’s fiction. All of these components of the cinema that are effectively obliterated during a
screening — the camera, the projector, the screen and even, as we have seen, the spectator himor herself — taken together are referred to as the cinematic apparatus. Cinema counts on
making this apparatus unapparent. For if it were apparent, the main illusion on which cinema is
based, that of looking in on a private world that unwinds magically, would be spoiled. Thus, the
cinema’s means of production are concealed so that the spectator is not aware of the material
machinery that constructs the filmic illusion; he or she has the false sense that the story is being
told by nobody from nowhere, or even produced by the spectator.
18
Application of Film Terms
Materials
 TV/VCR/DVD player
 Film clip
Purpose
 To demonstrate an understanding of cinematic terms
 To practice a close reading strategy and an analysis of film
 To examine the cinematic effects of film on the reader
Steps
1. Ask students to present their collages from the previous activity in small groups and to review the film
terms.
2. Next, expose students to the practice of close reading film by showing them short clips that emphasize
certain techniques. Students may focus more on camera techniques with the sound turned off. In this first
read, direct students to identify a cut from one shot to the next by clapping each time a new shot appears in
this short clip.
3. Next, view again (re-read) this same clip, this time with the sound on and ask students to identify as many
of the film terms as they can in application. They can use the film terminology list to assist them in this
process.
4. Next, write three to five film terms, each from a different category, on an index card. Assign students to
groups and give each group a card. Students may role play as director, cameraman, and actors to create a
short scenario using the terms on their card. Allow them a specific amount of time to plan and practice
using these techniques. Students will then demonstrate the terms from their cards for the class. For
example, one group’s card may include the terms dolly tracking, low angle, and bottom lighting. They
decide to create a scary scene where the villain sneaks up behind the victim. The “victim” will be sitting
in a chair. The “cameraman,” holding his or her paper camera, will walk alongside the “villain,”
simulating dolly tracking. When the “villain” reaches the “victim,” the “cameraman” moves to the floor to
create the illusion of a low angle. Another student will hold a flashlight underneath the “villain’s” face to
create the illusion of bottom lighting.
5. Last, ask students to reflect on this exercise and consider why they made the choices they did in their
presentations. In a quickwrite, students should consider the following: What effect did you want to have
on your audience? What choices did you make in your direction to achieve your desired effect?
19
Working with Film Terminology Part 2
Materials
 TV/VCR
 Meet Joe Black
 Film view notes
Purpose
 To demonstrate an understanding of cinematic terms
 To practice a close reading strategy and an analysis of film
 To examine the cinematic effects of film on the reader
Steps
1. Students will participate in a close reading of a short clip from the film Meet Joe Black. This clip begins
approximately 10 minutes and 47 seconds into the film after Brad Pitt’s character has just met his love
interest in a diner. The scene begins immediately after the couple exits the diner. Ask students to view this
clip once with the sound off and respond to the text by noting which shots the director uses. Tell students
not to ruin the scene for others if they’ve already seen this movie. Using the graphic organizer, students
should take notes on this series of shots back and forth between the two characters:
 Long shots to establish the setting
 Medium shots to display the body language of the characters
 Close-up shots to establish the facial expressions of the characters
 Shot-reverse-shot to establish a conversation between the two characters and the building tension
 High-key lighting to establish the mood of this scene — light and happy
2. This scene will end abruptly when Brad Pitt’s star-crossed character crosses the street and is hit by a car
because he is so pre-occupied with his love interest. Immediately after the character’s death, the film fades
to black for approximately seven seconds to give the audience time to respond to the shock of this tragedy.
The scene fades slowly back into the next scene.
3. Ask students to generate three questions that they would like to ask the director if he were in the class.
Students should share their questions in small groups and predict what the director’s response might be.
4. Inform students that when the film is read closely, the director gives us several hints of what’s to come in
this scene. It is suggested that students now review (re-read) this scene with the sound on. Now that they
know what is going to happen, they should examine how the director sets up the viewer (reader) for this
event. Again, students’ responses should unveil how the director accomplishes this task by a series of
shots but this time should also note what can be observed by the close reader: long shots to establish traffic
and medium shots to establish indecision and distraction on behalf of both characters, for example. After
this viewing, ask students to take notes and discuss their findings. In a think-pair-share, ask students to
respond to the following prompts:
 How does the director use sound (diegetic and non-diegetic) to enhance this scene?
 Why does the director choose to fade out to a black scene for so long and fade in again slowly?
20
 What is the effect of the fade to black on the audience and what did the director do to achieve this
effect?
5. Finally, ask students to craft an analytical statement about this scene. You will probably need to assist
them in this process by talking them through a review of the reading strategies they have learned and the
connections between those reading strategies and the process they used to make meaning from the film.
More important, ask students how they came to make meaning of this text (film clip). What strategies did
they use while reading this clip? This is a great time to point out to students the relationship between
reading print text and non-print text. Both require skills to ascertain meaning. Students’ lists of reading
strategies should resemble this one:
 Making predictions
 Questioning the text
 Responding to the text
 Re-reading
 Close reading
 Making inferences
21
Working with Film Terminology Part 2
Use the graphic organizer to assist you in the note-taking process while viewing the film clip.
Meet Joe Black Observations: note what you observe in this scene
— camera movement, angles, shots, sound, lighting,
setting, characters etc.
First viewing
without sound
Example: Shot-reverse-shot between a couple
Second
viewing —
sound optional
Final viewing
with sound
22
Interpretation: What can a viewer
infer based on his or her
observations?
Example: Maybe they are flirting
with one another.
Working with Film Terminology Part 2
(continued)
On separate paper, respond to the following prompts:

How does the director use sound (diegetic and non-diegetic) to enhance this scene?

Why does the director choose to fade out to a black scene for so long and fade in again
slowly?

What is the effect of the fade on the audience and what did the director do to achieve this
effect?

What strategies did we use today to make meaning from this text?
23
Reading Film: Edward Scissorhands
Materials
 TV/VCR
 Edward Scissorhands
Purpose
 To set the context for the film students will read
and analyze
 To examine cinematic and theatrical concepts of
film in application
 To practice strategies for reading film
 To understand the connection between reading
film and reading printed text
Steps
1. Ask students what they know about the director, Tim Burton, or the composer, Danny Elfman. If any
students are familiar with the director or composer allow them to share their knowledge with the class. If
students have no prior knowledge, you may want to provide some background information by bringing in
articles or showing websites that contain information about Burton or Elfman.
2. A graphic organizer is provided to assist students in understanding the major visual and literary elements
that will be studied throughout this film. Consider guiding students through a close reading of the opening
of the film in two segments:
 (0–0.02.42) is the opening title sequence of the film. As the credits roll, the viewer is exposed to an
array of images shot in low-key light of a castle with scientific instruments, cut out pictures, hands, and
faces, all spinning toward the camera. Ask students to make predictions based on the author’s use of
imagery in this viewing segment.
 (0.02.42–0.05.03) is the “frame” of the movie — an old woman prepares to narrate the story of Edward
Scissorhands to her granddaughter. Ask students to read this section closely and be especially
observant of the way the camera moves. Next, lead students through a discussion of this opening and
again ask them, based on this segment of text, to make predictions on what type of film this is.
3. Finally, in an effort to set the context for the film, ask students to conduct some research on the director,
composer, actors, or the film itself. Students should collect as much data as possible and bring it to the
next class meeting. You can begin the next lesson with a thoughtful discussion of their findings.
24
Reading Film: Edward Scissorhands
Segment of Film
Observations: What is
happening in this scene?
Interpretation: What can you infer or
predict based on your observations?
The Opening
Credits: Images,
Shapes, Music
The Frame Story:
Grandmother with
Granddaughter
Segment One: Opening Titles
1. Describe the music in this scene. What type of movie does it remind you of?
2. How does the lighting create the mood of this opening?
25
Segment Two: Frame Story — Grandmother with Granddaughter
1. How has the music changed between this and the previous scene? Why?
2. What does the camera do when it leaves the room where the story is being told? Why do you
think the director does this?
3. What do you think this film will be about? Why?
26
Reading Film: Edward Scissorhands Screening Day A
Materials
 TV/VCR
 Edward Scissorhands
Purpose
 To have students engage actively with the film
 To read the film closely to analyze its cinematic and theatrical effects
 To craft an analytical statement and support it with evidence from the text
Steps
1. Too often, students watch film passively. This note-taking activity is designed to have students remain
engaged with the film by chunking the text and viewing it in four small chunks and re-viewing key
sequences for a specific purpose: to examine framing, lighting, music, camera movement, and editing in
Screening Day A (0.05.03–0.26.28)

Summary (Previewing): The scene begins with Peg (we later learn that she is the grandmother’s mother)
selling Avon door to door in a very suburban town. When it does not go well with the neighbors, she
decides to try at the big, gloomy castle that looms just outside of town. She meets Edward, who appears
to be there all alone, and she insists that he come to stay with her and her family. While the women of the
town immediately start gossiping about him, Edward sees pictures of Peg’s teenage daughter, Kim, who
is away on a camping trip. He has some difficulties adjusting to clothes and cutlery. This segment ends
when Edward is tucked in for the night.

Key Sequence: Do a close reading of the scene by examining the sequence from when Peg enters the
castle until she and Edward are in her car. Notice the changing music and the use of long shots to show
how out of place Peg is in the castle. Notice, too, the use of long shots of Edward to create fear and
suspense, until we see him in a close-up, at which point we know that he is harmless.
2. Students will read/view this segment of the film all the way through without interruption. When the
scene concludes, students will respond to the discussion questions on the Student Page in small groups of
five, called “home base” groups. After students have thoughtfully discussed the literary elements of this
section of text, ask the students in each group to number themselves from one to five. After they’ve
numbered off, jigsaw students into expert groups by asking them to regroup by like number: All of the
ones should group together, the twos together, the threes together, the fours together, and the fives
together.
3. After students are in their expert groups, assign each group a cinematic element to focus on for the second
reading/viewing: group one — music/sound; group two — camera movement; group three — editing;
group four — lighting; group five — frames. Next, allow students to re-view the key sequence and use the
graphic organizer on the Student Page to track their responses. Students should compare their notes and
discuss their findings so that they may come to a consensus about what they observed, infer why the
director may have made that cinematic choice, and examine each element’s impact on the audience.
4. Next, model the analytical statement for students and ask them to work together to craft one focusing on
their assigned cinematic element.
5. Students should return to their home base groups and share their expertise on the cinematic focus and the
discussion and analytical statements from their expert groups.
27
Discussion Questions for the Home Base Group Day A
While viewing the key sequence of the text, note the places where you see a particularly
interesting example of your assigned cinematic element. You will want to put your notes on a
separate sheet of paper.
Framing/Angles
Lighting
Camera
Movement
Music/Sound
1. What do we know about Peg after viewing this segment?
2. How has the director already established a connection between Edward and Kim?
3. How do you feel about Edward? What do you think will happen to him?
4. How do you feel about the town? Why do you feel this way?
28
Editing
Reading Film: Edward Scissorhands Screening Day A
Analytical Statement: How did the director use the cinematic elements in order to achieve his
purpose?
In Edward Scissorhands, Tim Burton uses ________________________ (cinematic element) in
order to ___________________________________________________ (achieve what purpose).
29
Reading Film: Edward Scissorhands Screening Day B
Materials
 TV/VCR
 Edward Scissorhands
Purpose
 To have students engage actively with the film
 To read the film closely to analyze its cinematic and theatrical effects
 To craft an analytical statement and support it with evidence from the text
Steps
1. Students will view the second segment of Edward Scissorhands. Ask them to assemble in their home
base groups and review with one another the previous day’s learning. Then direct students to make
meaning of the film text using the graphic organizer for Screening Day B (0.26.28–0.51.36)
 Summary (Previewing): Edward begins to grow more comfortable with the family and the town. He
trims one shrub to resemble a dinosaur and another to represent the perfect, nuclear family (without
him, though). He has two flashbacks to his time in the castle when The Inventor was still alive. Kim
comes back and is very scared at first. Edward begins trimming the neighbor’s hedges, grooming
dogs, and giving the women haircuts.
 Key Sequence (Close Reading): The first flashback to the castle. Think about what triggers this
flashback for Edward, and how the music, lighting, and tone are different. How is the cookie heart a
symbol? In what way is the bakery’s assembly-line structure similar to the town and its regulated
order?
2. Continue the jigsaw by asking students to return to their expert groups. Assign them a new cinematic
element to focus on for the key sequence. Students should take notes while viewing, and discuss their
findings after the viewing, and make some predictions about the story’s outcome.
3. Direct students to craft an analytical statement; today, however, they should reference an example from
the film to support their claim. You might want to model this to ensure students are on the right track.
4. Students will return to home base groups to share their findings on their cinematic element as well as
their analytical statements with textual examples.
5. You may want to close today’s lesson with a whole-group share of random student samples.
30
Discussion Questions for the Home Base Group Day B
Framing/Angles
Lighting
Camera
Movement
Music/Sound
1. Why do the townspeople welcome Edward so quickly into their lives?
2. How does the town seem to change after Edward’s arrival?
3. Kim’s reaction to Edward is played for humor, but in what way is hers the most natural or
realistic response?
4. What was the hint in this segment that all will not work out well?
While viewing the key sequence of the text, note the places where you see a particularly
interesting example of your assigned cinematic element.
31
Editing
Analytical Statement with Textual Support
Tim Burton, in Edward Scissorhands, used _____________________________ in order
Cinematic element
to ____________________________________________________________________.
Achieve what purpose
For example, ____________________________________________________________.
Provide evidence from the text to support the topic sentence.
32
Storyboard Prediction
Materials
 TV/VCR/DVD
 Edward Scissorhands
Purpose
 To analyze and make meaning from a printed screenplay
 To predict how the director might capture a particular aspect of a
screenplay
 To create and present a storyboard that mimics a director’s style
 To craft a reflection that rationalizes the predictions
Steps
1. Begin by discussing the purpose of a storyboard. Mention how it allows the director to visualize what his
or her film will look like, prior to the actual filming. Many DVDs now include the director’s storyboards
in the bonus materials; perhaps you might be able to show students one or more of those.
2. Read aloud a short passage of a text that is particularly visual. The ending of “The Scarlet Ibis,” for
instance, would work well. Ask students to visualize how this passage would look as a film.
3. Ask students to draw at least three frames (a rectangular, movie-shaped box) of a film adaptation of the
text you read. Instruct them to try to include particular framing, lighting, angles, and other elements that
would effectively capture the text as a film.
4. When you feel that your students understand the concept of a storyboard and its function, direct them to do
a close reading of the excerpt from the screenplay of Edward Scissorhands. This is a scene that they have
not yet seen in class. As they read, students should infer how Tim Burton would film this scene.
5. Direct students to transform this screenplay into a storyboard by drawing up to six different shots that
Burton might film to capture this scene. Tell them to use as many appropriate cinematic elements as
possible and to describe the sound, lighting, and dialogue. This activity might be done best in pairs.
6. When they are finished, students should answer some reflective questions about their reasons for using
particular cinematic elements. After they have viewed this portion of the film, students should return to
this reflection and consider the differences between their prediction and what Burton actually filmed.
33
Screenplay Excerpt from Edward Scissorhands
KIM
You’re here. They didn’t hurt you, did they?
Were you scared? I tried to make Jim go back,
but you can’t make Jim do anything. Thank
you for not telling them about me.
EDWARD
You are welcome.
KIM
It must have been awful when they told you
whose house it was.
EDWARD
I knew it was Jim’s house.
KIM
You did?
EDWARD
Yes.
KIM
Well, then why did you do it?
EDWARD
Because you asked me to.
(Jim calls out for Kim, who runs outside to see
him. Edward watches them together and then
stalks off down the hallway, tearing the
wallpaper with his hands.)
34
Imagine how the preceding scene might be filmed by Tim Burton. Next, predict how he might
sequence the shots and craft a storyboard that will capture the essence of the sequence.
SHOT #
Describe the Music/Sound:
Dialogue:
Framing____________
Lighting:
SHOT #
Describe the Music/Sound:
Dialogue:
Framing____________
Lighting:
35
SHOT #
Describe the Music/Sound:
Dialogue:
Framing____________
Lighting:
SHOT #
Describe the Music/Sound:
Dialogue:
Framing____________
Lighting:
36
SHOT #
Describe the Music/Sound:
Dialogue:
Framing____________
Lighting:
SHOT #
Describe the Music/Sound:
Dialogue:
Framing____________
Lighting:
Reflection Questions: Look back through your shots and, on separate paper, answer the
following questions. Why did you choose the framing, lighting, and music that you did? What
words or phrases from the screenplay made you picture this? How did the scenes you have
already seen in the movie help you make these choices? After you have seen your scene as it
appears in the movie, how did it compare to the one that you envisioned? Explain.
37
Reading Film: Edward Scissorhands Screening Day C
Materials
 TV/VCR
 Edward Scissorhands
Purpose
 To have students engage actively with the film
 To read the film closely to analyze its cinematic and theatrical effects
 To craft an analytical statement and support it with evidence from the text
Steps
1. Students will view the third segment of Edward Scissorhands. Ask them to assemble in their home base
groups and review with one another the previous day’s learning. Then direct students to make meaning of
the film text using the graphic organizer for Screening Day C (0.51.36–1.17.11).
 Summary (Previewing): Things that had been going well begin to unravel for Edward as his innocence
about certain matters hurts him. A couple of sequences early on deal with the growing connection
between Kim and Edward, who is on a local TV talk show. He has a confrontation with Joyce, who is
trying to seduce him; he is told by a bank that he does not exist without a Social Security card, and
finally, he is caught breaking into Jim’s house because Kim and Jim, who abandoned him, asked him
to. He gets a lesson in ethics at the dinner table, but rumors about him begin to spread around town.
This segment ends with Edward making an ice sculpture of an angel for the family’s Christmas party.
Kim is dancing in the ice flakes as if they were snow.
 Key Sequence (Close Reading): Have students review the scene when Edward is locked in Jim’s house
and the police are outside. Have them listen to the music as he comes out, and examine the low-key
lighting and the use of the long-shots of Edward from the point of view of the police. Edward is again
threatening to those who do not know him.
2. Continue the jigsaw by asking students to return to their expert groups and assign them a new cinematic
element to focus on for the key sequence. Students should take notes while viewing and discuss their
findings afterward.
3. Next, direct students to craft an analytical statement with an example to support their statement. Students
should work on providing reflective commentary to explain their interpretation. You might want to model
this to ensure that students are on the right track.
4. Next, ask students to return to their home base groups to share their findings on their cinematic element as
well as their analytical statements with textual examples.
5. You might want to close today’s lesson with a whole-group sharing of random student samples.
38
Discussion Questions for the Home Base Group; Day C
Framing/Angles
Lighting
Camera
Movement
Music/Sound
1. Is Edward behaving any differently than he did before? What is different about the town’s
treatment of him?
2. What is the effect of the scene with Kim dancing in the ice crystals? How have her feelings
about Edward changed? Why?
3. How has Edward tried to fit in? Why has he failed? What does the “ethics lesson” reveal
about Edward?
While viewing the key sequence of the text, note the places where you see a particularly
interesting example of your assigned cinematic element.
39
Editing
Analytical Statement with Textual Support and Reflective Commentary
Tim Burton, in Edward Scissorhands, used _____________________________ in order
Cinematic element
to ____________________________________________________________________.
Achieve what purpose
For example, ____________________________________________________________.
Provide evidence from the text to support the topic sentence.
_______________________________________________________________________.
_______________________________________________________________________.
Reflective commentary (explain why this evidence supports)
40
Reading Film: Edward Scissorhands Screening Day D
Materials
 TV/VCR
 Edward Scissorhands
Purpose
 To have students engage actively with the film
 To read the film closely to analyze its cinematic and theatrical effects
 To craft an analytical statement and support it with evidence from the text
Steps
1. Students will view the fourth segment of Edward Scissorhands. Ask them to assemble in their home base
groups and review with one another the previous day’s learning. Then direct students to make meaning of
the film text using the graphic organizer for Screening Day D (1.17.11–1.40.00).
 Summary (Previewing): The scene begins with Edward’s fight with Jim, who tells him, “get out of
here, freak.” As Edward leaves, he tears off his clothes, punctures a tire, and cuts down one of his
shrubs. While Peg and the police are out looking for him, Edward returns to the house, where Kim tells
him “hold me,” but he replies, “I can’t.” The segment then goes to a flashback of Edward in the castle
when The Inventor died.
Edward saves Kevin from a swerving car, but the townspeople think that he is attacking Kevin. Kim
urges Edward to leave before the townspeople and Jim hurt him. Edward returns to the castle, now
overgrown and forgotten, but the townspeople follow. Edward kills Jim when Jim threatens Kim, who
tells Edward that she loves him. A last long shot of Edward shows him all alone again. The film returns
to the frame story of the older Kim who tells her granddaughter that before he came there never was
any snow, but now there is. We see a final shot of Edward in the castle carving an ice sculpture.
 Key Sequence (Close Reading): Look at the flashback of when The Inventor died. Besides the
possibility of getting his hands, what else did Edward lose that day? Notice the framing and the music
during this sequence, especially at the very end. How has Kim helped him to overcome this loss?
2. Continue the jigsaw by asking students to return to their expert groups. Assign them a new cinematic
element to focus on for the key sequence. Students should take notes while viewing and discuss their
findings afterward.
3. Direct students to craft an analytical statement with an example to support their statement and reflective
commentary. Today, however, they should work on providing a sentence of closure to explain their
interpretations. You might want to model this to ensure that students are on the right track.
4. Ask students to return to home base groups to share their findings on their cinematic element as well as
their analytical statements with textual examples. You might want to close today’s lesson with a wholegroup share of random student samples.
41
Discussion Questions for the Home Base Group: Day D
Framing/Angles
Lighting
Camera
Movement
Music/Sound
1. Does Edward’s anger toward the town seem justified?
2. How does Edward appear to feel about Jim’s death? How does Kim appear to feel?
3. Why do you think Edward cuts his clothes off?
4. Most fairy tales have a lesson or a moral to teach. What do you think Kim wants her
granddaughter to learn from her story?
While viewing the key sequence of the text, note the places where you see a particularly
interesting example of your assigned cinematic element.
42
Editing
Analytical Statement with Textual Support and Reflective Commentary
Tim Burton, in Edward Scissorhands, used _____________________________ in order
Cinematic element
to ____________________________________________________________________.
Achieve what purpose
For example,____________________________________________________________.
Provide evidence from the text to support the topic sentence.
_______________________________________________________________________.
________________________________________________________________________
_______________________________________________________________________.
________________________________________________________________________
_______________________________________________________________________
________________________________________________________________________.
Reflective commentary
_______________________________________________________________________.
Sentence of closure/summary
43
Reading Film: Crooklyn Previewing
Materials
 TV/VCR/DVD
 Crooklyn
Purpose
 To understand the context of the film
 To recognize the subject matter and text features of the film
Steps
1. Students will begin viewing Spike Lee’s coming of age film Crooklyn. To prepare themselves,
ask them to consider the songs, events, and neighborhoos of their relative youth by working
through Parts One, Two and three of the following pages.
2. Then, they will spend some time considering the film’s director, Spike Lee by answering the
questions in Part 4.
3. Introduce students to the generic film note taking form by using one or more of the previously
viewed clips. Notice that the form has a section for Cinematic as well as Theatrical elements
(costumes, props, sets, acting choice, etc.). Students should read the accompanying article on
Theatrical Elements in Film and practice with previously viewed or new film clips.
Rationale for teaching Crooklyn: Spike Lee is one of America’s most original, daring, and
controversial directors. He focuses subjects and themes that most Hollywood filmmakers wouldn’t
know what to do with even if they did touch with a ten-foot pole. Many of his films seek to counter
racial stereotypes of African-American life by creating characters that are full, real, and alive. He and
his movies are lighting rods for every sort of attack from Africa-Americans as well as whites, but at
least he is out there hitting nerves like good cinema should do. Unfortunately many of his films are
rated R for violence, sexual situations, and especially vulgarity. His Do the Right Thing is brilliant,
but our community might not be so comfortable with the profanity. So all this brings us to Crooklyn, a
very good, though maybe not great Spike Lee film. It is not a politically charged film, but a rather
endearing Coming of Age story, told from the perspective of a young African-American girl. The
uniqueness of the voice itself should justify its inclusion in a ninth grade class, but cinematically and
especially musically, Lee has recreated time and place (1970s Brooklyn) so effectively that it works
very well for film study.
44
Theatrical Elements in Film
Previously, we examined those elements that are unique to film: framing, editing,
etc., but since films share elements with other art forms, we should examine those as
well. Obviously one of the most similar art forms, from which film derives much of its
core, is the theater. We will not necessarily be comparing theater and movies, but rather
we will examine those elements that are typically found in drama that also appear in film
and be able to explain their effects. The main categories of theatrical elements are sets,
costumes, props, and acting choice.
Sets: On a movie set, the production designer is the person who is most
responsible for the look of the film’s settings. He or she, working closely with the film’s
director, supervises the staff that creates the sets, designs the costumes, applies make up,
and locates or constructs the props. Every one of these choices can have a tremendous
effect on characterization, setting, theme, and an audience’s reaction. Imagine going to
see a horror movie. Would it be scarier if it took place in a brightly lit, modern-day condo
or in a dark, decrepit mansion? The answer is clear: the set determines an audience’s
expectation for the action. Almost every scene in Alfred Hitchcock’s Rear Window takes
place within a single room. The set used had to feel claustrophobic enough for the
audience to feel as trapped as the main character, who must stay inside all the time, but at
the same time, the set includes a huge window that overlooks the neighbors’ apartments.
The set, then, forces us to want to look out that window and to become voyeurs, just as
the main character does. In the film version of A Streetcar Named Desire, the director
asked that the set walls be moved in closer to each other as the film progressed so that it
seems as if the world is pressing down on the characters, leading them to the breaking
point. Not all the sets take place in a studio; oftentimes, films shoot on location, which
can still be described as the “set” of the scene. The same questions can be asked about the
sets of films on location. Why does New York City look absolutely beautiful in Woody
Allen’s Manhattan, but frightening in Abel Ferrara’s The King of New York? The answer
is found in what the filmmakers were trying to get the audience to feel about their
subjects and they use the sets to help them achieve that purpose.
Costumes: If you watch any old Western, you can always identify the good and
bad guys just by the colors of their hats. Costumes are a quick signal for characterization.
How we feel about a character often comes simply from how they are dressed. Think
about Indiana Jones; when he is teaching at the college, he wears a suit, a tie, and glasses,
and clearly looks uncomfortable, but as soon as he is out on adventure, he dons his
leather jacket, whip, and his trusty hat, and is more relaxed and at ease; the Indy we like
best is the second one, of course. Costume designers often try to show contrasts between
characters through the clothes they wear. In a scene from Rocky: when he is introduced as
Apollo Creed’s next opponent, Rocky, in a simple, pull-over sweater with his shirt collar
poking out, stands next to Creed, who’s wearing a tailored, three-piece suit; the
differences between these two men could not be made more clear. Costumes can also
show growth or development of a character. In a scene from Elizabeth, the young and
45
nervous queen is shown rehearsing for an important speech dressed in a simple, white
nightgown; we feel scared for her because she looks so vulnerable in her nightgown.
Later, as she is delivering the speech, she is regal in a bright red gown that stands in sharp
contrast not only to her earlier dress, but also to her audience, who is dressed almost
entirely in black; she delivers her speech successfully and her manner, reflected in her
costume, is one of confidence and control.
Props: Any objects that an actor manipulates or that are a part of the set are
called props, and they too can reveal information of character, setting, and theme. For
example, an opening shot of Steven Soderberg’s sex, lies, and videotape, shows a man,
who, while talking on the phone, idly takes off his wedding ring and carelessly spins it on
his desk. This simple use of a prop reveals that this man does not take his marriage
seriously. A scene from Philadelphia has a character who is suffering from AIDS
touching a picture frame, a box of cigars, and other personal items on the desk of a
lawyer who is clearly watching the infected man’s movements very closely. When you
pay close attention to the seemingly little details of a film, you can see more clearly the
filmmaker’s purposes.
Acting Choice: Probably the most essential – or at least visible – component of the
theatrical elements of a film is the performance of the actors. Too often we quickly
say, “he is a good/bad/terrible/fantastic actor,” without really examining the aspects
that go into a film performance. We are not going to evaluate the actors, but rather we
will identify the choices that an actor can make and try to explain how these choices
impact viewers and add to characterization and theme. The goal of every actor in any
film is to effectively and realistically capture the essence of the character that they
have chosen to portray. While we don’t always consider this fact, the first choice that
actors make is whether they will take a role that has been offered to them. Though
they may deny it, most actors are typecast for certain roles, either by their own
decision or by a people’s perceptions of the actor. Do we want to see Woody Allen in
an action movie? Julia Roberts tried to change her looks and persona in Mary Reilly,
and the audiences stayed away in droves. An actor, whether by his or her physical
type, voice, ethnicity, or public persona, carries certain baggage to a film role, so we
can certainly discuss whether an actor is appropriate for a particular role or not.
Countless examples of poor casting choices abound in Hollywood films that seriously
compromised the believability of the character and negatively affected the film’s
goals. Some examples that come to mind are: Tom Cruise as Lestat in Interview with
a Vampire, Kevin Costner with a British “accent” in Robin Hood: Prince of Thieves,
Katherine Hepburn as a hillbilly in Morning Glory, and Robert Redford in The Great
Gatsby.
But acting, like painting and filmmaking, is an art and there are many tools that an
actor has at his or disposal to communicate a character to an audience. One is the
actor’s delivery of lines. The ways that an actor chooses to say his or her lines greatly
affects the audience’s reaction to the character; an actor can shout, whisper, cry,
laugh, etc. The same actor can portray totally different characters simply by the way
the lines are said. Al Pacino, for instance, is extremely exuberant with a Cuban
46
accent, in Scarface while in the first two Godfather films, he is extremely subdued
and quietly menacing. When a film, or a particular scene in a film, calls for a
particular mood and tone, we should be able to isolate how the actors’ delivery of the
lines helps to convey that mood or how their delivery detracts from it. Again, this is
not necessarily an evaluation of the actors’ performances, but rather, it is a way to
identify the contributions that this theatrical element can have on a film.
Another tool that actors have are the movements and gestures he or she uses. Think
about Anthony Hopkins as Hannibal in The Silence of the Lambs: the way his eyes
follow Clarise around, how his hands wave lightly to the music before he strikes, and
his animalistic smile at the taste of human blood. All of these contribute to the
audience’s feelings toward the character. When you focus on the seemingly small
details of an actor’s movements, you can begin to understand even more about the
film’s purposes.
These theatrical elements allow for us to expand what we can look for in a film and to
see even more clearly the amount of fine attention to detail goes into the creation of a
movie. When we notice how the cinematic elements support the theatrical, we can see
the number of ways that a filmmaker can communicate his or her ideas and to see
how complicated this process can be.
One of the most important questions we can ask when analyzing film is: how does the
director use cinematic and theatrical elements to illustrate literary elements? The
answers to this question can lead us to a greater understanding of a filmmaker’s
intention than we could have without the ability to analyze movies as described
above.
47
Film Viewing Note taking
Title: _________________________ Year: _______ Director: _________________
Cinematic Elements
Theatrical Elements
(framing, lighting, sound, editing, etc.)
(costumes, props, sets, acting choice, etc.)
Personal Response
(as you watch)
After viewing, on the back, write a strong topic sentence about what the director is trying
to achieve in this section of the film and write a paragraph that supports it with specific
examples from the today’s viewing.
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Crooklyn Introduction
Part One: Songs
1. What are two songs that you remember hearing or listening to when you were
young (at least 5-10 years ago)? Why do you think you still remember them?
2. What are two of your favorite songs right now? Why these?
3. On a scale of 0-10, how important is music to your life right now? Why did you
give it this rating?
Part Two State any events that you remember from the following time periods of your
life. Do not worry if the event you state is seemingly insignificant. It could be a trip to the
zoo or a death in the family.
Birth to five years old

Ages Five to Ten
Ages Eleven to Present
Choose one of the above events and imagine that someone were going to make a
music video of that event. What song would the director use? Why? What would be
the images that we would see on the video?
49
Part Three: Neighborhood
Draw a map of your block on which you live. Label your house or apartment and the
houses of people you like/hate/are scared of, etc. Mark the bus stop or other significant
landmarks. Use color if you wish.
50
Part Four: Film and Director
1. What do you know about the director Spike Lee? What films of his do you know?
2. What do you think of when you hear the title of the film, Crooklyn?
3. Based on the questions here, what do you think this film will be about? Why?
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Crooklyn Viewing Day #1: (0-.30.00)
Total time: 30 minutes
Begins with: Opening titles (even if you showed them earlier)
Ends with: Neighbor’s arrest
Notice: The tender, but chaotic family life is shown by the quick takes, fast
moving camera, and overlapping dialogue. You will notice quickly that the pace of the
movie changes all the time: normally a very busy scene is followed by a quiet and slow
scene. When Lee films the drug sniffers (that’s Spike Lee as one of them), he reverses the
image and shows them floating upside down, clearly showing the ill effects of drug use
and how out-of-norm it is in the neighborhood. We see that the father is the bringer of
treats to the family.
Key Sequence: (12.55-14.28)
After the craziness of the night before, Lee shows us a overhead shot of Troy in
the morning. The camera moves slowly and catches her just waking up with light music
in the background which acts as her own theme song throughout the film. For the first
time, we see just a single person in scene. The mood continues as she goes downstairs to
find her mother in her favorite chair and they share a quiet moment and matching closeups to establish their close relationship and resemblance. They are the only women in the
family overrun by men.
52
Film Viewing Note taking Day 1
Title: Crooklyn
Year: 1994
Director: Spike Lee
Cinematic Elements
Theatrical Elements
(framing, lighting, sound, editing, etc.)
(costumes, props, sets, acting choice, etc.)
Personal Response
(as you watch)
After viewing, on the back, write a strong topic sentence about what the director is trying
to achieve in this section of the film and write a paragraph that supports it with specific
examples from the today’s viewing.
53
Crooklyn Discussion Questions Day One:
1.
What is the tone and mood of this movie so far? What helps to create this?
2.
What are some of the conflicts that seem to be developing? What do you
think this movie is going to be about? Why?
3.
Watching this film so far, you could say that nothing has happened so far.
How is the plot of this film different than most? Why do you think the writers
and director chose to tell their story this way?
4.
What similarities or differences have you seen between this film and your
own life and family? Think about dinner time, dealing with siblings and
parents, and your neighborhood.
54
Viewing Day #2: Crooklyn (.30.00-1.07.00)
Total Time: 37 minutes
Begins with: Kids watching the Partridge family
Ends with: Family arriving at relatives’ house
Notice: When the parents and kids get into the big fight, Lee cuts quickly back
and forth while the up-tempo song, “I’ll Take You There” plays on the soundtrack. The
audience is left somewhat unsure whether to laugh or cry during the scene. Troy has
another quiet scene alone with a parent, this time with her father on the steps outside. It
mirrors in framing, tone, and music the earlier scene with her mother.
Key Sequence: (54.36-56.11)
This is Troy’s nightmare scene, and it begins with the identical overhead shots of
her bedroom from yesterday’s key sequence, but this time the lighting is low-key and the
music is fast and jagged. In bed, Troy is writhing around, almost like she is running in
place. And in her dream, which has a dark blue, off-focus tint to it, she is running away
from the drug sniffers. They catch her, force her to sniff, and she floats away, as the song
(“Time. . .”) also fades away.
55
Film Viewing Note taking Day 2
Title: Crooklyn
Year: 1994
Director: Spike Lee
Cinematic Elements
Theatrical Elements
(framing, lighting, sound, editing, etc.)
(costumes, props, sets, acting choice, etc.)
Personal Response
(as you watch)
After viewing, on the back, write a strong topic sentence about what the director
is trying to achieve in this section of the film and write a paragraph that supports it with
specific examples from the today’s viewing.
56
Discussion Questions: Crooklyn Day 2
1.
So who is the main character of this story? How do you know this? Why did
the director take so long to establish her as the main character?
2.
Music plays such an important part in the family’s life and in the film. What
songs stuck out for you and why? What effect do they have on the viewer?
3.
What things in this film seem to date it to the 1970s? What things still seem
similar to today?
4.
What do you think Troy’s dream signifies and why did Lee film it that way?
57
Viewing Day #3: Crooklyn (1.07.00-1.29.00)
Total Time: 22 minutes
Begins with: Family going into the house
Ends with: Troy being picked up at the airport
Notice: Do not adjust your television sets: Lee intentionally distorts the frame
when they go inside the house by using an anamorphic lens, which squeezes the images
together. Obviously this is used to demonstrate Troy’s feelings of unease outside of
Brooklyn, and the effect is just as disorienting for the viewer. While much of what she
sees is new for Troy, especially when she has to have her hair straightened, she brings her
“Crooklyn” spirit for games and mischief, which seems to influence her cousin. When
Troy receives a letter from her mother, the words come to life in the form of images from
the neighborhood, which are not filmed with the distortion. Troy’s perspective returns to
normal as soon as she gets off the plane back home.
Key Sequence: (1.21-1.22.53)
This is a short, but wonderfully effective scene that is tucked into the middle of
the letter to Troy. It starts with the father’s concert then flashes forward to the party
afterward and back to the concert to reveal that the audience is small and that Clinton, the
eldest, is not there. When Clinton comes home and announces that the Knicks won the
championship, which he went to instead of his father’s concert, it is clear that the father is
hurt, but still generous to his son, who probably won’t be able to watch a game again
without some guilt. It’s a nice scene to show how a great performance, by Delroy Lindo
as the father, good writing, and an effective use of close-ups can make a simple scene
powerful.
58
Film Viewing Note taking Day 3
Title: Crooklyn
Year: 1994
Director: Spike Lee
Cinematic Elements
Theatrical Elements
(framing, lighting, sound, editing, etc.)
(costumes, props, sets, acting choice, etc.)
Personal Response
(as you watch)
After viewing, on the back, write a strong topic sentence about what the director
is trying to achieve in this section of the film and write a paragraph that supports it with
specific examples from the today’s viewing.
59
Discussion Questions Crooklyn Day #3
1.
Why did the director, Lee, choose to distort the image of the time when Troy
is outside of Brooklyn? What is the effect on the viewer? Do we get used to
it? Does Troy?
2.
While this is primarily Troy’s story, what are the other conflicts that are
going on this family?
3.
What were the new things that Troy was exposed to while she was in the
South? How do you think these will effect her later on?
4.
Much seems to be made of Troy’s hair in this film. Why did her aunt
straighten it? What did her aunt think of her hair when she returned to
Brooklyn?
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Viewing Day #4: Crooklyn (1.29.00-1.49.35)
Total Time: 20 minutes
Begins with: The hospital
Ends with: the Soul Train dance and the credits
Notice: Both mother and daughter have new hair when they see each other in the
hospital. While her mother is sick, Troy is the only child not crying. During and after the
funeral the chorus of the song is “Someday things are going to be easier.” Troy is alone at
the reception after the funeral and her big brother Clinton does the first nice thing in the
movie by sitting down next to her and taking her hand. Immediately after this, we hear
the opening strains of the Shaft theme song and Troy goes after the sniffers on their
block. Troy begins taking over some of her mother’s roles – we see her in her mother’s
chair combing out her brother’s hair - and the film ends with a wonderful shot of the
block with Troy leaning, quietly and peacefully gazing out across her neighborhood. The
last song that plays over the credits and scenes from Soul Train is a rap about living in the
70s and is the only contemporary song on the soundtrack.
Key Sequence: (1.36.39 - 1.37.54)
I absolutely love this tiny scene. It starts with still, dark, and silent shots of the
house that is never quiet and moves to a long, overhead shot of Troy following behind
her brothers in a park. We hear the “Hallelujah” song that Troy heard down South and
just a tiny voice wondering if they are going to have to dress up for Mommy’s funeral.
The tone, the pace, the song, and the subtle dialogue communicate more real feeling than
if Lee had chosen to film a tearful deathbed scene, I think.
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Film Viewing Note taking Day 4
Title: Crooklyn
Year: 1994
Director: Spike Lee
Cinematic Elements
Theatrical Elements
(framing, lighting, sound, editing, etc.)
(costumes, props, sets, acting choice, etc.)
Personal Response
(as you watch)
After viewing, on the back, write a strong topic sentence about what the director
is trying to achieve in this section of the film and write a paragraph that supports it with
specific examples from the today’s viewing.
62
Discussion Questions Crooklyn Day 4:
1.
What has Troy learned from her experiences? In what ways is she just like
her mother and how is she different?
2.
How does Troy deal with her grief?
3.
Many songs were used throughout this day to create mood. Describe the
effect of one of the songs you heard.
4.
What did you notice about the TV programs that they watched? Why do you
think Lee chose to end by watching Soul Train?
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Writing topic and thesis statements: Crooklyn
Materials
 TV/VCR/DVD
 Crooklyn
Purpose
 To understand the importance and role of effective topic and thesis statements
Steps
1. Once students have finished their viewing of Crooklyn ask them to write writing strong topic
sentences for sample ideas and topics on the sheet that follows.
2. Be sure that students have the time and opportunity to share their sentences and paragraphs
with their peers for feedback.
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Writing topic/thesis sentences: Crooklyn
Step One: What is the purpose of having a strong topic/thesis sentence in your writing?
(Ex: Tim Burton uses low-key lighting in order to create suspense)
How do you go about proving a topic/thesis sentence?
Step Two: Re-watch or think back on the scene with Clinton and Troy near the end.
Write a strong topic sentence about some aspect that Lee chooses to use: cinematic or
theatrical. Remember, it should be something that can be proven. (The first song is called
“Oh Girl” and the second is the theme from Shaft)
Part Three: Working with a partner, write a paragraph that supports the following
statement. Remember that your audience has not seen the film; be sure to use at least
three examples.
“Spike Lee, in the film Crooklyn, intentionally distorts his lens when Troy is in Virginia
in order to ___________________________________.”
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Part Four: Choose and ONE of the following topic sentences that you think you can
answer well with examples from the film. Re-copy the topic sentence on separate paper
and fill in the blank. Then, write a full paragraph that supports this topic sentence with at
least THREE examples from the text. Be sure not to simply list the examples; you must
explain how they support your topic sentence. Proofread your paragraph for errors before
submitting.







Spike Lee, in the film Crooklyn, creates a film without a real plot in order to ___.
Spike Lee, in the film Crooklyn, includes so many songs in order to ________.
Spike Lee, in the film Crooklyn, slowly developed Troy as the main character by
_____.
Spike Lee, in the film Crooklyn, makes Brooklyn seem like _________ in order
to show ____________.
Spike Lee, in the film Crooklyn, uses the diegetic sounds of the household in
order to _______.
Spike Lee, in the film Crooklyn, uses high-key lighting (or low-key) in order to
________.
Spike Lee, in the film Crooklyn, establishes the setting of his film by _______.
Part Five: Write your own strong topic sentence, modeled on one of those above, about
ONE of the following topics. Then, write a full paragraph, using the same format as
above.






Troy’s development
How this is a “Coming of Age” story
The conflicts the family faces and how they survive
Sibling relationships
Parent-child relationships
The theme of maturity v. immaturity
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Culminating Assessment: Film Analysis Essay
Assignment: Your assignment is to write an essay in which you explain how the director,
Tim Burton or Spike Lee (or the director of another film you studied in class), uses
cinematic and/or theatrical elements to illustrate a significant literary element (theme,
setting, tone, character, etc.). Your essay will follow the specified essay format with an
introduction, thesis, topic sentences, and a conclusion paragraph. You will also want to
be sure that you have provided your readers with enough context about the film so they
can understand your essay. Do not assume that the reader has seen the film, but do not
feel that you need to summarize the film in its entirety.
Steps in the Assignment:
1. Look back through your notes and the topic sentences that you wrote and decide
on a literary element from the film that you think you can prove effectively. Write
this as a thesis statement. In Edward Scissorhands, Time Burton uses ___ to
illustrate ____.
2. Create a specific outline for your essay that follows this format:
a. Introduction:
i. Hook
ii. Narrowing
iii. Thesis
b. Context for reader
c. Body paragraphs that support the thesis
d. Conclusion
i. Brief summary
ii. Clincher
3. Look back through your notes in order to write paragraphs about literary,
theatrical, and cinematic elements.
4. Write your introduction and conclusion. Have a draft ready to be read by a peer.
Be sure that you have enough, but not too much context of the film.
5. Prepare the final copy of your essay.
Scoring of Assignment:
 Explain the effect of choices
 Thesis and topic sentences
 Supporting examples
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Scoring Guide: Culminating Assessment
Priority
Standard
6-5
4
3
2-1
9.08. Describe
the function
and effect upon
a literary work
of common
literary devices
Draws an
exceptionally clear
and original
connection
between the
cinematic choices
the director makes
and the intended
effect toward
theme,
characterization,
tone or other
literary element.
Clearly describes
the function and
effect of the
cinematic and
theatrical elements
on the chosen
literary element
Identifies that the
director is making
specific choices for
particular effects,
but the connection
is not fully clear. A
literary element,
such as theme or
tone may be
identified, but the
function and effect
of the choices is
not clear.
The response is
mainly a summary
of the action or the
plot of the film.
There is not a
connection yet
between the
choices the director
makes and the
intended effect.
9.11. Develop
a thesis,
providing
connections and
insights.
The thesis and
topic sentences are
clear and draws an
insightful
connection
between the
choices and the
effects. Thesis
relates directly to
the response that
follows.
The thesis
statement and topic
sentences are clear
and relevant to the
essay.
There is a clear
understanding of
the purpose of a
topic sentences and
thesis statements,
even if the
execution of the
sentence is not
fully successful
because of a lack of
connection or a
lack of clarity.
Either there are no
thesis statements or
topic sentence or
they do not make a
provable statement.
9.13. Support
interpretations
of literature
through the use
of textual
references
There are several
effective examples
offered to support
the topic sentences
and thesis. The
examples are fully
explained and fully
convincing and
relevant.
The supporting
examples are
relevant and
generally well
explained to
support the
interpretation.
The response
includes
appropriate, if
somewhat limited,
examples from the
film. The examples
may not be fully
explained at this
point and is not
fully convincing.
The response does
not include many
specific examples
from the film to
support the topic
sentence. Overall,
this is not a
convincing essay.
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Writing the essay
Use the following outline to guide you as you craft a multiple-paragraph analytical essay. Use the
space in the outline for your notes.
Introduction
Should contain a lead that grabs the reader’s attention.
Should provide a context of the story for the reader connecting to the cinematic and/or theatrical elements.
Should provide a thesis that interprets Burton’s/Lee’s use of your two specified elements.
Body Paragraph 1
Should focus on one cinematic or theatrical element and explore its effect.
69
Body Paragraph 2
Should focus on another cinematic element and explore its effect.
Body Paragraph 3 (if necessary)
Should focus on another cinematic element and explore its effect.
Conclusion
Consider the following questions to craft your concluding thoughts: What did you say in regard
to Burton’s or Lee’s work in this essay? What does this interpretive analysis mean? Why does it
matter?
70
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Differentiation
Film in the classroom tends to be an amazing equalizer. Students who have not had as
much academic success in the past can thrive in a unit where the visual medium is the
primary text. This does not mean, however, that you will not need to differentiate during
the unit. Notice that with the teaching of Edward Scissorhands, most of the learning and
discussion takes place within learning (or home base) groups. This is an ideal place for
some flexible grouping options. Based upon the results of the pre-assessment the film
survey, you could vary the groups by familiarity with film or by their current abilities to
analyze film. Also, even though the analysis of Edward Scissorhands focuses on the
cinematic elements, you could do some curriculum compacting by moving those
students who are ready onto the theatrical elements that are discussed in the second half
of the unit. Last, the final culminating assessment is open-ended enough to allow
students to discuss any literary element, though you could accelerate some students by
requiring that they discuss theme or tone, while helping other students to choose the less
challenging topics of characterization and setting for their essays.
72
RESOURCES
Books about film in general:
 Bordwell, David, and Kristin Thompson. 1997. Film Art: An Introduction. New York:
McGraw-Hill.
Hands down, the single best film text I have used. It is extremely thorough,
introducing the technical aspects of filmmaking, and examining film through its form,
style, history, and important critical theories. It includes hundreds of film stills, many in
color, and while it is designed for the reader with some familiarity with film, its many
examples and easy writing style make it a great beginning text.
Dick, Bernard. 1990. Anatomy of Film. New York: St. Martin’s Press.
An even easier read than the Bordwell and Thompson text, this one covers much
of the same ground, but it breaks down many of the specific shots types and genres of
film. He includes a wonderful section on film subtexts and some interesting ideas on film
and literature. When I need to try to understand some of the complex writings by various
film theorists, I often open this book’s section on film criticism; he synthesizes extremely
well.


Giannetti, Louis. 1990. Understanding the Movies. Englewood Cliffs, NJ: PrenticeHall.
My very first film textbook. While it covers much of the same ground as the first
two, it includes a sample storyboard for the cornfield sequence from North by Northwest,
which I discussed in the section on film terminology. In addition to the film stills,
Giannetti includes some of the best captions for those stills I have ever read in any book
on any subject. You could learn just about everything you need to know just from reading
those captions. Though, go ahead and read the rest; it’s very straightforward and clear.

Monaco, James. 1981. How to Read a Film: The Art, Technology, Language, History,
and Theory. New York: Oxford University Press.
Wow. If you think the title is long, just wait until you see the book. When you
have read this text -– and understood it -- you have attained the grail of film theory, and
you’re way out of my league. It includes, however, information absolutely essential to the
study of film. Monaco is so well versed in the technology of cinema and in the signs and
syntax of the language of film. There are a few stills, but even more significant are the
many charts and diagrams that he includes. It may not be the place to start with film, but
you’ll be in great shape if you end up here.
Ebert, Roger, ed. 1996. Roger Ebert’s Big Book of Film. New York: W. W. Norton
& Co.
Movie critic Ebert collected some of the best writing about film, acting,
Hollywood, directing, and the love of the movies in this 700 page volume. Many great
directors, actors, and producers talk openly about their craft. It is an easy and very
enjoyable to read.

73
Books about film in the classroom:
 Costanzo, William V. 1992. Reading the Movies: Twelve Great Films on Video and
How to Teach Them. Urbana, IL: NCTE.
Don’t be mislead by the title, this book does much more than help us teach twelve
films; the first half of it synthesizes a lot of the information contained in a number of the
excellent books on film study, including the texts listed above, but he does it for an
English teacher audience, not for film scholars. The second half, then, is where he gives a
brief analysis of the suggested films, along with great resources and suggested activities.
While I believe that much of the material is directed to college-level students, I see many
applications to high school and even middle school students.
 Teasley, Alan B. and Ann Wilder. 1997. Reel Conversations: Reading Films with
Young Adults. Portsmouth, NH: Boyton/Cook Publishers.
I had been using film in my classroom for awhile when this book was given to me
by a district supervisor, and it changed my thinking in so many ways. First, the authors
reminded me that film is about more than just the cinematic techniques that a director
uses. To forget about the theatrical and literary aspects, which I had, is to lose much of a
film’s power to affect its audience. They also include some great ways to teach genre to
students, which obviously has so many parallels to teaching literature. And last, they did
so much legwork for us by putting together lists of possible films in just about every
conceivable category. Very readable and a wonderful resource.
Books about filmmaking:
In the same way that reading books about the craft of writing can offer insight into the
analysis of literature, reading books designed for the beginning film director has taught
me a tremendous amount about film theory and practice.
 Cantine, John, Susan Howard and Brady Lewis. 1995. Shot By Shot: A Practical
Guide to Filmmaking. Pittsburgh, PA: Pittsburgh Filmmakers.
A little pocket sized guide to the lenses, film stock, and lighting information
directors need, this text also contains worthwhile information on editing, sound, and shot
composition.
 Harmon, Renee. 1993. The Beginning Filmmaker’s Guide to Directing. New York:
Walker and Company.
After reading this book, I dare you not to be tempted to pick up a video camera
and start shooting the next great Oscar winner. It is very easy to read and understand. In
addition to using her very helpful charts on camera placement and lighting, I have taken
some of her ideas about screenplay writing and film budgets to use in a culminating film
project.
 Pincus, Edward and Steven Ascher. 1984. The Filmmaker’s Handbook. New York:
Penguin Books.
Way more than probably your average filmmaker needs to know about
filmmaking, so it’s barely on our radar charts, but I have learned a lot about the
technology behind the movies from this book. For our purposes, it contains a worthwhile
74
section on sound recording and an interesting description of how various lenses can
create different perspective in film to create subjective shots.
75