THE INDIVIDUAL ORAL - FROM START TO FINISH Point 1 – Selecting Your Texts and Arriving at the Global Issue Whether you are working at the SL or HL level, the task is virtually the same. We recommend that students go through the entire process – including completing their own graphic organizers – in order to do their best on the task. Step One: Review a menu of texts from your course All students should begin by making a menu of texts they have studied throughout the course. Here is a sample: Sample Menu of Texts Studied Death and the Maiden, The God of Small The Things They Dorfman Things, Roy Carried, O’Brien Poetry of Nike “Dream Crazier” Campaign Fun Home, Bechdel Wilfred Owen Sing, Unburied, Sing, Ward 13th, Duvernay Heart of Darkness, Woman at Point Zero, El Conrad Saadawi Wieden+Kennedy Saving Private Ryan, Spielberg Speeches of MLK Poetry of Mary Oliver Nike “Ba Da Ding” Wieden + Kennedy Unorthodox, Schrader Breaking Boundaries, Attenborough Step Two: Brainstorm themes and concepts that come from course texts and bodies of work Once you have made your menu of texts, it’s time to start thinking about your passions! One student, Paul, arrived at Death and the Maiden and a Nike ad campaign. Paul used the table below to further develop his thinking. Consider the 7 Concepts in addition to key points discussed in class. This step is vital before moving to the global issue. Ideas and Global Issues in My Chosen Texts Death and The Maiden Nike “Dream Crazier” Campaign Marriage Representation Mental illness and trauma Identity Justice Power Forgiveness and reconciliation Inequality Gender discrimination Motherhood Torture and political prisoners Mental stability Power Empowerment Cycle of violence Transformation Memory Redefining stereotypes Abuse Connotation of words Step Three: Using the Ladder of Abstraction and a Question and Answer Discussion After completing the above table and generating ideas, join with a peer and go through an intensive question-and-answer session. The goal is to go from big ideas to a focused and precise global issue. Here is a sample ladder showing Paul’s thinking: Step Four: Writing the Global Issue Statement After the question-and-answer session and narrowing down the topic, write out your clearly focused global issue. Start broad with the Fields of Inquiry and end with a narrow focus: “Today I’d like to discuss the Field of Inquiry of Power, Politics, and Justice. More specifically, I’d like to address the perception that women are emotional or crazy, and how this demeaning language requires women to redefine traditional female stereotypes and seek empowerment.” Fields of Inquiry Culture, identity, and community How texts explore aspects of family, class, race, ethnicity, nationality, religion, gender, and sexuality, and the way these impact individuals and societies. They might also focus on issues concerning migration, colonialism, and nationalism. Beliefs, values, and education How texts explore the beliefs and values nurtured in particular societies and the ways they shape individuals, communities, and educational systems. They might also explore the tensions that arise when there are conflicts of beliefs and values, or ethics. Politics, power, and justice How texts explore aspects of rights and responsibilities, the workings and structures of governments and institutions. They might also investigate hierarchies of power, the distribution of wealth and resources, the limits of justice and the law, equality and inequality, human rights, and peace and conflict. Art, creativity, and the imagination How texts explore aspects of aesthetic inspiration, creation, craft, and beauty. They might also focus on the shaping and challenging of perceptions through art, and the function, value, and effects of art in society. Science, technology, and the natural world How texts explore the relationship between humans and the environment and the implications of technology and media for society. They might also consider the idea of scientific development and progress. Your Turn! Use the handout to work through a similar process when YOU begin to consider your text selection for the Individual Oral. The Individual Oral Step-by-Step Step One: Review a menu of texts from your course Sample Menu of Texts Studied Step Two: Brainstorm themes and concepts that come from course texts and bodies of work Consider the 7 Concepts in addition to key points discussed in class. This step is vital before moving to the global issue. Ideas and Global Issues in My Chosen Texts Text #1 Text #2 Step Three: Using the Ladder of Abstraction and a Question and Answer Discussion Using a 7-step or 8-step process, take your ABSTRACT concept (the Fields of Inquiry) to your CONCRETE text. Each step in your ladder needs to link to the one before it and the one after it, logically. Remember, you are narrowing down a “big idea” to something very specific. It takes time and it takes patience. Point 2 – Choosing and Annotating the Extracts Step Five: Review your Global Issue Statement “Today I’d like to discuss the field of inquiry of Power, Politics, and Justice. More specifically, I’d like to address the perception that women are emotional or crazy, and how this demeaning language requires women to redefine traditional female stereotypes and seek empowerment. ” Notice how the student links to a specific Field of Inquiry for the course as well as a deep message prominent in both the literary and non-literary work. Step Six: Look for areas of conflict in your two texts Now that you’ve reviewed your Global Issue, it’s time to explore your chosen texts to determine your extracts. The sample student mentioned before completed the following graphic organizers when considering moments in the text where the global issue is present. Notice how they focused on conflicts, as those moments often provide a window into the key themes of a text. The student also considered how the conflicts linked to the Global Issue. Finally, the student considered how the craft was used to make the Global Issue more prominent. Searching for the Extract - Death and the Maiden (Literary Work) Moment in the text where the Key action and/or conflict of Key authorial or directorial GI is present the moment moves used in expressing GI Act 1, scene 1: Paulina hiding behind the curtain as Gerardo comes home Gerardo demeaning her for her mental instability Dialogue and Lighting Gerardo, accusing Paulina of Act 2, scene 1: Gerardo talks to being crazy, uses her mental Paulina and begs her for state to prove she is not lucid Roberto’s freedom enough to identify her former The first allusion to the music motif. Dramatic revelation. torturer Act 2, scene 2: Roberto and Roberto tries to convince Gerardo discuss Paulina in her Gerardo that she is crazy and absence. needs medical help. Act 3, scene 1: Dramatic confession scene. Roberto begging for mercy Irony, staging, diction/connotation, ellipsis, apposiopeia (unfinished sentences) tone characterization Paulina and Roberto finally confront each other. Paulina has power despite the accusations that she is mentally unstable Lighting and powerful Dialogue Searching for the Extract - Nike “Dream Crazier” Campaign (Non-Literary BoW) Moment in the BoW when the GI Key action and/or conflict of the is present moment Simone Biles print ad A young black American Key authorial or directorial moves used in expressing GI. gymnast literary flying through the air, inverted as she challenges traditional stereotypes and redefines Lighting, shadows to showcase both grace and power beauty and power for black women. Serena Williams is a worldSerena Williams print ad famous black female athlete showing her grace and power in this ad. This ad was released shortly after a major conflict in the US Open where she was Lighting, shadows, body posture, gaze, focus all show determination but grace. accused of being emotional in a match. Williams narrates and introduces historical allusions to Dream Crazier video ad other famous women who have featuring Serena Williams pushed boundaries and redefined how women are perceived in society. The use of montage and grainy images shows the ongoing historical struggle throughout various waves of Feminism. Music and composition are interesting choices throughout the ad. Step Seven: Examine your graphic organizer and locate your extract Now that you’ve thought deeply about the conflicts in your works in relation to the Global Issue, it’s time to choose the most powerful aspects. I would recommend you select passages that are rich not only in terms of the Global Issue, but also in terms of key authorial choices. Based on the work from the graphic organizers, Student Paul arrived at the following two extracts: Literary Extract: Death and the Maiden, Act 2, scene 2, Ariel Dorfman, 1990, Pg. 43-44 1. ROBERTO: She’s mad. You’ll have to excuse me for saying this, Gerardo, but your 2. wife… 3. GERARDO: Bread? 4. ROBERTO: No thanks. (Pause.) She should be receiving some sort of psychiatric 5. treatment for— 6. GERARDO: To put it brutally, you are her therapy, Doctor. 7. He cleans Roberto’s mouth with a napkin. 8. ROBERTO: She’s going to kill me. 9. GERARDO: Unless you confess, she’ll kill you. 10. ROBERTO: But what can I confess? What can I confess if I…? 11. GERARDO: You may be aware, Doctor, that the secret police used some doctors as— 12. consultants in torture sessions… 13. ROBERTO: The medical association gradually learned of these situations, and looked 14. into them wherever possible. 15. GERARDO: She is convinced that you are the doctor who… And unless you have a 16. way of denying it… 17. ROBERTO: How could I deny it? I’d have to change my voice to prove that this is not 18. my voice—if it’s only my voice which damns me, there’s no other evidence, nothing 19. that— 20. GERARDO: And your skin. She mentioned your skin. 21. ROBERTO: My skin? 22. GERARDO: And your smell. 23. ROBERTO: Fantasies of a diseased mind. She could have latched onto any man who 24. came through that door… 25. GERARDO: Unfortunately, you came through that door. Non-Literary Extract: Dream Crazier, Weiden + Kennedy, Nike, 2018 1. if we show emotion we're called dramatic 2. if we want to play against men we're nuts 3. and if we dream of equal-opportunity 4. delusional 5. when we stand for something we're unhinged (Screenshot 1) 6. when we're too good there's 7. something wrong with us 8. and if we get 9. angry we're hysterical irrational or 10. just being crazy 11. but a woman running a marathon was crazy 12. a woman boxing was crazy a woman 13. dunking crazy coaching an NBA team crazy 14. a woman competing in a good job changing 15. her sport 16. landing a double cork 1080 or winning 23 17. Grand Slams having a baby and then 18. coming back for more (Screenshot 2) 19. crazy crazy crazy and crazy 20. so if they want to call you crazy 21. fine 22. show em what crazy can do Screenshot 1 (0:23): Sue Bird Screenshot 2 (1:02): Serena Williams Step Eight: Use graphic organizers to identify how authorial choices reinforce the global issue After you have chosen your extracts, it is time to carefully examine your selections and identify key textual references and stylistic choices that help to bring the Global Issue to the forefront of your Individual Oral. I would recommend the three-draft approach to close reading. In short: 1. Read without a pen. Enjoy the sound and flow of the work. 2. Read slowly and write down big ideas and questions in the margins. Make connections to the Global Issue. 3. Identify key textual references and authorial choices that support the Global Issue. The student produced the following chart for the literary extract after completing a close reading with the three-draft approach: Extract Annotations - Death and the Maiden (Literary Work) Textual references “She’s mad” Features Diction, connotation, The audience understands Paulina’s ideas, although characterization “You are the therapy doctor. ” Authorial/audience relationship rooted in truth, are being dismissed as crazy Irony, denotation and The audience sees Roberto comparing Gerardo to a connotation of therapist, implying that Gerardo’s role is to be a “therapy doctor” caretaker for his mentally unstable wife The audience witnesses Gerardo’s hesitation as he Ellipsis, carefully suggests that Paulina is not crazy. Rather, characterization the pausing illustrates G’s belief that maybe Roberto is “... ” guilty of a crime. Why Paulina was to make peace with her experience “door” Symbol, motif, stage and “close the door” on this chapter of her life, Roberto directions has just come through the door, forcing her to confront her torturer and address her past. Symbols, imagery “Voice” and “skin” (tactile and olfactory) The audience can almost feel the shivers down Paulina’s spine as she reminisces about the touch and smell of her torturer and oppressors. The student produced the following chart for the non- literary extract after completing a close reading with the three-draft approach: Extract Annotations - Nike “Dream Crazier” Campaign (Non-Literary BoW) Textual reference Features Author/Audience Relationship The viewer is bombarded by words with “Dramatic, delusional, Lexical cluster, synonyms dramatic, unhinged” negative connotation to reinforce the idea that women are stereotyped unfairly with emotional language Along with Serena Williams, the viewer is “Sue Bird” symbolism motivated by the courage and power of these women and begin to see the word “crazy” redefined Viewers understand the subtle nuances and Half court line symbolism boundaries between “crazy” and “powerful” Facial features, mid-shot, Serena Williams shot Viewers see powerful women being foreground vs background at 1:02 redefined. Crazy now equals empowered symbolism of motherhood Your Turn! Use the following handout to work through a similar process when YOU begin to consider your text selection for the Individual Oral. IB Language and Literature The Individual Oral Step-by-Step Step Six: Find examples of your Global Issue in the work and work as a whole (Zoom Out) Now that you’ve reviewed your Global Issue and chosen your extracts, it’s 9me to explore your chosen works to determine what moments in the work or BoW you want to present to show your knowledge of the Global Issue. You might want to consider moments that also contain a prominent feature or two from the author or creator of the BoW. Ul9mately, we need 2 or 3 moments in the works that clearly link to the global issue as presented in your extracts. Searching for the Extract - ______________________________ (Literary Work) Moment in the text where the GI is present Key acGon and/or conflict of the moment Key authorial or directorial moves used in expressing GI Searching for the Extract - ______________________________ (Non-Literary BoW) Moment in the BoW when the GI is present Key acGon and/or conflict of the moment Key authorial or directorial moves used in expressing GI Step Seven: Examine your chart and locate your extract Now that you’ve thought deeply about the conflicts in your works in rela9on to the Global Issue, it’s 9me to choose the most powerful aspects. Select passages that are rich not only in terms of the Global Issue but also in terms of key authorial choices. Step Eight: Using graphic organizers to idenGfy how authorial choices reinforce the global issue AHer you have chosen your extracts, it is 9me to carefully examine your selec9ons and iden9fy key textual references and stylisGc choices that help to bring the Global Issue to the forefront of your Individual Oral. Extract AnnotaGons - ________________________________ Textual references Features (Literary Work) Authorial/audience relaGonship Extract AnnotaGons - __________________________________ Textual reference Features (Non-Literary BoW) Author/Audience RelaGonship Point 3 – Examining the Work or BoW as a whole: Step Nine: Review your Global Issue Statement “Today I’d like to discuss the field of inquiry of Power, Politics, and Justice. More specifically, I’d like to address the perception that women are emotional or crazy, and how this demeaning language requires women to redefine traditional female stereotypes and seek empowerment.” Notice how the student links to a specific Field of Inquiry for the course as well as a deep message prominent in both the literary and non-literary work. Step Ten: Identify key moments in the literary work as a whole and the BoW as a whole that highlight the Global Issue. Now that you’ve reviewed your Global Issue, it’s time to explore your chosen texts to determine where in the entire literary work as a whole we see this important idea. Explicitly answer the following two questions: 1. Where else in the literary work or body of work do we see the Global Issue? 2. What are a few signature moves by the author/director present in the work or BoW? And complete the following graphic organizers when considering moments throughout the literary text and non-literary BoW where the global issue is present. Notice how the student chose several moments while trying to cover the beginning, middle, and end of the respective works. As always, the student maintains focus on the Global Issue while completing this graphic organizer. In this case, the student was looking for links to the idea of women being labeled as crazy and the need to subvert this stereotype. Searching for the GI Throughout the Literary Work Moment elsewhere in the text Evidence of the global issue we see the global issue Key authorial or directorial moves Act 1 Scene 1: Paulina hiding Gerardo demeaning her for her behind the curtain when Gerardo Dialogue and Lighting mental instability comes home Gerardo shocked at what Act 1 Scene 4: Paulina Paulina has done. Tries to First allusion to music motif. convince her to stop acting Dramatic revelation. interrogates Roberto and Gerardo intervenes irrationally. Paulina and Roberto finally Act 3 Scene 1: Dramatic confronting each other. Paulina confession scene. Roberto Lighting and powerful dialogue has power, despite being labeled begging for mercy as crazy. Once the students completed the graphic organizer for the literary work, they completed the same process for the non-literary BoW. Searching for the GI Throughout the Non-Literary BoW Moment elsewhere in the Key authorial or directorial campaign where we see the Evidence of the global issue moves global issue Simone Biles print ad A young black American literary flying through the air, inverted as she challenges Lighting, shadows to showcase traditional stereotypes and both grace and power redefining beauty and power for black women Megan Rapinoe is known throughout the United States as Megan Rapinoe screenshot from the video a woman who has defied odds and pushed equal pay and other gender issues to the Megan Rapinoe close up shot while discussing the denotation and connotation of the word “delusional” forefront of American dialogue regarding gender equality Williams narrates and introduces a historical allusion The use of montage and grainy Katherine Switzer marathon to other famous women who images shows that this ongoing screenshot from the video have pushed boundaries and historical struggle throughout redefined how women are various waves of Feminism perceived in society Your Turn! Use the following handout to work through a similar process when YOU begin to consider your key moments to discuss the literary work as a whole and the non-literary Body of Work as a whole. Point 4 – Creating the Outline This is the time to consolidate our thinking into 10 manageable bullet points that you may use during the assessment. While the IB has not given specific guidelines, it is the expectation that students will not write a script and will instead have an appropriate amount of text on the outline. Step Eleven: Review your Global Issue Statement “Today I’d like to discuss the field of inquiry of Power, Politics, and Justice. More specifically, I’d like to address the perception that women are emotional or crazy, and how this demeaning language requires women to redefine traditional female stereotypes and seek empowerment.” Step Twelve: Create your outline Now that we have gone through all the necessary steps during the first three videos, it is time to insert the key information into the 10-bullet point outline. Individual Oral - Final Outline Text 1 (Literary): Death and the Maiden by Ariel Dorfman (Chile, 1990) Text 2 (Non-Literary): Nike “Dream Crazier” Campaign by Weiden + Kennedy (USA, 2019) Global Issue: Power, Politics, and Justice. The perception that women are emotional or crazy, and how this demeaning language requires women to redefine traditional female stereotypes and seek empowerment. Literary Extract- Death and the Maiden Zoom Out DATM: ● Act 2: Gerardo and Roberto treat Paulia as crazy ● Props and Music: underwear and props and the music motif Zoom In DATM: ● Roberto’s claim: “She’s mad” and Gerardo’s reply that Roberto is “her therapy” (Irony) ● Pauses in the dialogue show gravity and emphasis on mental instability ● Gerardo’s comment “You came through that door” shows that anyone could have been the target and that Paulina is not lucid. Non-Literary Extract- Nike “Dream Crazier” Campaign Zoom Out Nike: ● Print ad of Simone Biles upside down flying through the air (voiceover narration) ● Megan Rapinoe (LGBTQ) and Katherine Switzer (close up, facial expression, video montage, grainy image/color) Zoom In Nike: ● “dramatic, nuts, delusional, unhinged, hysterical, irrational” (lexical cluster in lines 5, 9) ● “stand up for something” (association and irony), “crazy, crazy, crazy” (repetition and new definition) ● “Sue Bird” and “Serena mid-shot” (line as a symbol, facial expression, and symbol of powerful motherhood) Your Turn! Individual Oral - Final Outline Text 1 (Literary): Text 2 (Non-Literary): Field of Inquiry: Global Issue: Literary Extract Non-Literary Extract Individual Oral - Full Student Transcript Literary Text: Death and the Maiden, Ariel Dorfman (1990) Non-literary Text: Nike “Dream Crazier” campaign, Weiden+Kennedy (2018) Hello. I want to discuss the global issue that the concerns of women are dismissed by most men as them acting crazy or hysterical. And that those real problems women face in society are not taken seriously. To do so, I will look at the literary text, Death and The Maiden, specifically, Act 2 Scene 2. It’s a play written by Ariel Dorfman published in 1990. And for the non-literary text, I will look at the Dream Crazier campaign by Nike that was published in 2018 and created by Weiden+Kennedy. So looking first at the Death and the Maiden story as a whole, we see that Dorfman creates a world that is very unfair towards women. The characters of Gerardo and Roberto are both seen to treat Paulina unfairly. They believe that she is insane and that her claims have no merit. However...and that connects back to the global issue as Dorfman is presenting this world where the concerns of women, specifically Paulina, are being dismissed as her acting crazy. However, instead of using this to depower her character, Dorfman actually empowers her character, and does so partly by introducing symbols that remain throughout the whole play, including a gun that is introduced in Act 1 that Paulina has throughout the whole play and sort of symbolizes that power she has in the situation. Also, Paulina’s underwear is used to gag Roberto. Not only is that sexual in nature, which sort of parallels how Roberto had treated her in their past, but it’s also an object that’s closely tied to her femininity. And, as a result, the audience can clearly see that those aspects are being highlighted. And these symbols are also very effective in a visual medium such as a play where...which is how the story was originally presented. Um...the...Dorfman also makes use of the Death and the Maiden motif that’s present in the classical works. However he does a role reversal. And traditionally, the maiden is a female who is begging with Death for more time, typically represented by a masculine figure. However, in this case, Paulina, despite being female, actually sort of plays the role of death. She is the one who is in control of the situation whereas Roberto, who is the male, plays the maiden in this case because he is the one who has lost all control and he is begging Paulina for more time while he appeals to her and tries to discredit her. He’s the one who’s out of control in this situation and he’s at the mercy of Paulina. And now, looking specifically at this passage for Act 2, Scene 2. This passage comes after Paulina and Gerardo agree to give Roberto somewhat of a mock trial and Gerardo and Roberto get an opportunity to discuss together for the first time without Paulina present. Roberto opens immediately claiming, “she’s mad you’ll have to excuse me for saying this Gerardo, but your wife”...so he immediately resorts to the defense that Paulina is acting crazy and is attempting to appeal to Gerardo that way. Um...then on line 4 he follows up saying she should be receiving some kind of psychiatric treatment. Gerardo then responds with a metaphor saying “to put it rudely you are the therapy doctor.” So by saying that Gerardo is applying this therapy, not only is...uh... Gerardo implying that Paulina is in need of therapy, uh...which sort of implies that he believes Paulina is crazy as well, but he doesn't have Paulina’s same interests in mind. Paulina is concerned about getting justice and bringing Roberto to justice, whereas Gerardo seems to just want to calm his wife down and sort of put all this behind them, and he doesn't quite believe her. Then, uh, later on in the passage, on line 15, Gerardo says that “she is convinced that you are the doctor who ...and pauses…and unless you have a way of denying it.” And so the pauses in that line serve to sort of highlight the...uh gravity of what Roberto has done and reminds the audience of the crimes he has committed. But, Roberto responds saying “how can I deny it? I have to change my voice to prove that this is not my voice. If it’s all in my voice, it means there is no other evidence, nothing that...” And Gerarado presents other evidence that Paulina has including his skin and his smell. Roberto responds to these fantasies and diseased mind. So he’s very harsh to Paulina and a diseased mind is clearly showing how he believes she is completely mad at this point and that there is no merit in what she is saying. And then he follows up saying she could have latched onto any man that came through that door. Gerardo then responds in line 25 saying that “unfortunately you came through that door.” So, Roberto believes that Paulina would latch on to anyone and Gerardo seems to agree with him despite that he is supposed to be on Paulina’s side. And...um...that connects back to the global issue in that we see two male characters not taking Paulina’s concerns about Roberto seriously. So, looking at the Dream Crazy campaign as a whole, we see that it makes heavy use of the word crazy, but only really to discuss the accomplishments of female athletes both in the print ads and the video ads. And, by doing so, it’s trying to take the meaning of that word which can be used to depower women, and really change it so it is more of an empowering word and that becomes very clear looking at the transcript. But the ad also, both print ads and the video ads, features real female athletes that have been successful as well as real footage. And that serves to remind the audience that the global issue is not being taken seriously and being called hysterical or crazy is a real issue in the world of athletics today and is one that many female athletes face in the world. So, looking specifically at the transcript and the screenshots from the Dream Crazier video, ...um...we see that for the first half of the transcript, when discussing sort of how the...the negative depictions of female athletes, the narrator, Serena Williams, doesn’t use the word crazy at all. She uses words that are synonyms that might not be as popular as the word crazy. Crazy is a pretty common word that can very easily be thrown around and has a lot of meaning. Whereas when she is discussing sort of how people would call women crazy, she’s using much more specific diction, such as dramatic or nuts or delusional, unhinged, then on line 9 hysterical, irrational. So, that serves to really show...uh....to take the meaning away from the word crazy specifically. And, on line 5, when she says “when we stand for something we’re unhinged.”...this shot of Sue Bird arguing with the ref plays. And in this shot...it’s real footage, so the audience can immediately make that connection and realize they’re looking at a real problem. And, Sue Bird is isolated on the right facing left whereas everyone else, both the ref and other players are on the left, and the line on the court serves to sort of divide the shot in half. And Sue Bird is really isolated in this shot. And...uh...when this shot plays, Serena Williams says, “when we stand for something we’re unhinged.” Saying “when we stand for something” that’s typically associated with bravery, something that should be commended. Um...but however we see Sue Bird, who the audience likely imagines is the person Serena Williams is talking about, despite standing for something like she says, she’s the one who is isolated. She’s not being rewarded for her bravery, but rather she’s being punished for it. And that really connects back to the global issue as it’s shown that her being concerned and her standing up for something is not being taken seriously as she is being isolated. And halfway through the transcript, there is somewhat of a tonal shift when Serena Williams starts discussing the achievements of women. And now, she’s using the word crazy to describe everything. For example a woman running a marathon is crazy, a woman competing in a good job, changing her sport...uh...that would be crazy. And then, on line 16, she starts discussing her own accomplishments, saying winning 23 grand slams, having a baby, and then coming back for more...crazy crazy crazy. So again, at the end, it’s really emphasizing that word crazy and all the meanings it has. And when that narration plays, this shot of Serena Williams plays, and it’s a midshot that allows us to see her face and Serena Williams being the most recognizable female athlete, a lot of people should be able to recognize her from this shot. But, being a midshot, the action of her playing tennis is also very visible. As a result, the focus doesn't detract too much away from athletics and shift to celebrity, it’s still focused on athletics. And saying winning 23 grand slams highlights her achievements as an athlete but then saying having a baby and sort of that transition...really highlights her achievements as a female and as a mother. So, the...the text ends saying ...with Serena Williams saying...if they want to call you crazy, show them what crazy can do. That closing is really powerful and really changes the meaning of the word crazy for the audience that might be watching. So in conclusion, both of these texts connect to the global issue of women not being taken seriously and being called crazy or hysterical. But both these texts try to empower women and make it clear that their voices should be heard. Transcript Word Count: 1654 Teachers and Students: Please note that Paul was able to add valuable information during the Q/A that cleared up some misconceptions. When asked to elaborate on the non-literary BoW, Paul was able to add enough information, detail, and nuance to show excellent understanding of Wieden+Kennedy’s campaign as a whole. During the Q/A, he added the information from his outline that he was unable to share during his initial 10 minutes. Thus, Paul added three more points to his total score, and this allowed him to achieve a score of 7 on the assessment.
