FILM UNIT
I’M NOT SCARED/IO NON HO PAURA (2003)
DIRECTED BY GABRIELE SALVATORES
An English teaching resource for year 12: Achievement Standard 2.5
REBECCA LAGAS & ZANITA THOMPSON
1
UNIT OVERVIEW
Unit Title: I’m Not Scared Either - An Introduction to a Sub-Titled Film.
Strand: Visual Language (with links to Written Levels: 6, 7 and 8
and Oral Language)
Function: Viewing (with links to Presenting, Processes: Exploring Language, Thinking
Listening/Speaking and Transactional Writing)
Critically, Processing Information
Achievement Objectives:
- Analyse a visual text (film), evaluating the ways verbal and visual features are organised and
combined for different meanings, effects and purposes.
Unit Learning Outcomes – By the end of this unit, students will be able to:
1. Identify, analyse and evaluate the elements within the mise-en-scene, cinematography and post-production of
a film in discussion and writing.
2. Analyse the central components of the film (exposition/conclusion, character/relationships, theme, narrative,
genre, motif/symbol) using the above terminology correctly and with reference to visual, verbal and aural
features.
3. Construct and organise a body of evidence regarding this analysis for the purpose of writing an essay.
4. Write an essay on a chosen topic that analyses the visual and verbal/aural features used for effect, meaning
and purpose in “I’m Not Scared.”
5. Design a storyboard that demonstrates an awareness of cinematographic and sound effects, visual narrative
and point of view and contains explanatory notes evaluating the effectiveness of the decisions made.
Rationale
This film is an incredibly rich teaching resource that lends itself to enhancing the visual literacy of
senior students. It has won numerous awards, including two for cinematography, and as such has great merit for
teaching students about effective uses of visual techniques and film conventions. The Italian director, the auteur
Salvatores, has made a film that is extraordinarily compelling: in terms of cinematography, almost any random
pause of the film would depict an incredible use of camera angle, shot size and composition. The use of sound
is evocative and potent as well, and I think effectively enhances meaning and atmosphere.
It is a foreign language film, subtitled, but I have seen a diverse range of students of different abilities,
ethnicities and gender consistently respond positively to this film. This is perhaps due to the accessibility of its
narrative and themes: it is essentially a coming of age film and as such appeals to adolescents. The film is
constructed from the perspective of a young boy who dramatically reassesses his perception of and relationship
to his parents. His idealisation of his father in particular is challenged by an ethical dilemma: will he conform to
adult expectations of him, or do what his conscience tells him is morally right? In facing this situation with
courage (note the title), the boy achieves greater autonomy and a clearer sense of identity. Salvatores explores
these tensions subtly, exploring a stage in cognitive and moral development directly relating to adolescent
development.
It also has the benefit of introducing students to another culture, broadening their experience of diverse
texts and enriching their knowledge base. It is a thriller: most students have found it exciting and engaging
because of the suspense. However, it plays with the accepted conventions of this genre: Salvatores has set this
thriller largely in sunlit open spaces. This in itself can generate rich discussion. Although it is stylistically
complex, the film is quite simple. It has a single setting (rural Italy in the 70’s), a limited point of view, a small
number of characters and chronological narrative sequencing. It is overall an accessible film that is also ageappropriate for this level.
The specialised terminology that is introduced at this level is reinforced on a daily basis through the
use of a student constructed template which orders information according to the categories mise-en-scene,
cinematography and post-production. This stimulates meaningful encoding, provides a clear plan for an essay
and ensures students can discuss visual and aural features with equal attention, rather than studying a film as if
it were a novel through the analysis of theme, genre, character etc alone or with sporadic notes on visual/aural
features. The use of both essay and storyboard as summative assessments allow for more than one way for
students to show what they know. This also caters for a greater range of learner preference, as does this unit as
a whole with its emphasis on visual literacy: an essential skill for people in a world where information is
presented with increasing emphasis on the visual.
2
LESSON PLAN: THE INTRODUCTORY LESSON
Lesson Topic:
Function/Process:
Atmosphere in the Exposition:
An Introduction to Film Terminology
Exploring Language, Thinking Critically, Processing
Information
Achievement Objectives:
Analyse a film using appropriate terminology, evaluating the ways verbal, aural and visual
conventions are organised and combined for meaning, effect and purpose. Select, interpret and
synthesise this information using a template layout for the purpose of planning for an essay.
Learning Outcomes: Students will be able to1. Define mise-en-scene, cinematography and post-production (MES, C, PP) and be able to identify
the elements within each of these categories.
2. Discuss the purpose of the exposition and how atmosphere is created in the exposition of the film.
3. Analyse the way the conventions within the MES, C and P contribute to a sense of atmosphere in
discussion/collective brainstorming.
4. Record this information in a template for the purpose of structuring a plan for an essay.
Note:
Classes of high ability/prior film knowledge can achieve this is one lesson. Classes of lower
ability/experience can construct evidence on MES, C, PP over three separate lessons if needed and be
introduced to each category one at a time. Discussions and note-taking should be done collectively as
a class until students become more proficient. I’ve also found at this stage it is a good idea, when
introducing the template concept, to explain that it is an organisational tool for clarity and to introduce
the idea of essays a bit later. Most students have been pleasantly surprised that their essay planning is
already done, as this is how the template functions. This seems to aid motivation and avoids
overwhelming students. See Resources, p.12 for an explanation of how the template functions
Teaching Methods and Learning Activities:
1. Watch the exposition (the first 30 seconds of the film, just showing the below ground shots).
2. Ask students what they know about the film from that small part. The setting, (a cave), that
there are hints of human habitation (a blanket) and the title (which is roughly scratched into the wall)
should emerge as ideas. That the title is Italian and is a personal declaration of fearlessness also
conveys important information and a central theme. Record the discussion on the board as a
brainstorm/splatter map as students mention each observation. Explain they have just watched the
exposition which functions as an attention-getter and to establish some important ideas, which they
have just demonstrated. Put “exposition” on a separate word bank on the wall with its definition.
3. Ask students to think of adjectives describing the atmosphere (gloomy, scary, tense,
claustrophobic etc) and record them. Formulate a thesis sentence about the atmosphere e.g. “The
exposition generates a claustrophobic and gloomy atmosphere.”
4. Get students to draw the template into their books (see resource p.12) and write this thesis
statement in the first column, which is headed “exposition.” Do this on the board as well.
5. Define MES (see Resources p.18) and ask students to look for evidence from the MES only
that supports the statement on atmosphere. Watch the opening shots again, record the student-elicited
evidence on the board, which students record in their second column. Repeat the process for C and PP
as time allows, recording C evidence in the third column, PP evidence in the fourth.
The students will have a chart that links visual/aural evidence to a thesis statement which can
provide the bones for an essay introduction. Each column can be developed into paragraphs
that are already sequenced. The same technique is used for analysing the second half of the
exposition where the camera moves from the cave to a sunlit open field
(contrast/juxtaposition/symbolism), character, relationships and theme: the template can also be
used as essay plans for these topics if chosen by the student.
3
INTRODUCTORY LESSON CONTINUED
Rationale:
Although I’ve seen some great introductory lessons for film units that hinge around analysing a
promotion poster, I prefer to introduce the unit by telling students we will be studying film for a few
weeks and having an informal discussion on what movies they’ve seen recently, liked and why. They will
usually mention film characteristics from the MES, the teacher could tell students that without knowing it
they already understand this new term. I’ve found students become highly animated when expressing their
opinions on films and this sets a nice tone, especially if students are positioned as experts, such as by
asking them if they think a movie is worth seeing. I then tell them minimal information about the film
(just that it’s a thriller and that other students thought it was awesome) and let them watch it without
interruption.
I think it’s beneficial for students to have as little initial assumptions about the film and to let the
film do the work of engaging and maintaining attention. Then I allow students, without any teacher input,
to respond to the film informally. It’s good feedback, but also allows students to express their personal
responses freely and establishes a tone conducive to open discussion. Again, if there are any criticisms,
asking the student how they would have done it differently validates their expertise (and stimulates higher
order thinking, as well as an insight into the film-maker’s intentions). This lesson plan, therefore, is about
the fourth in the unit and the one in which formal analysis begins.
The correct use of terminology is integral to facilitating visual literacy and, once students can use
these terms confidently, are empowering as well as contributing to a skill base that facilitates analytical
and critical thinking. These terms should be verbally discussed, written on the board and in a separate
wordbank on the wall and reinforced through the use of the template over the unit. In my resources, I’ve
also included some explanations of ways these terms can be reinforced, consolidated and assessed.
Resources:
- The DVD (which can be ordered online)
- Whiteboard for recording evidence
- Handouts/circular chart on terminology
- Handout pictorially showing essential elements of cinematography
- Wordbank for the wall
Assessment:
Formative:
- Observation of student participation in discussion, viewing of exposition, construction of
template and note-taking.
- Question and answer.
- Feedback on ideas and responses
* The recall of terminology and definitions can be formally assessed at a later date in order to
consolidate what has learned. I’ve designed a quiz for this purpose that visually maps the
information and once completed correctly can provide excellent review notes. See Resources p.18.
4
LESSON PLAN (7 in Sequence)
CATERING FOR THE NEEDS OF STUDENTS WITH VISUAL OR
KINESTHETIC LEARNING PREFERENCES
Lesson Topic:
Function/Process:
Cinematography: Camera Angles, Camera
Movement and Shot Size
Exploring Language, Thinking Critically,
Processing Information
Achievement Objectives: Using the appropriate terminology, evaluate the ways the visual
conventions of cinematography are organised and combined for effect, meaning and purpose.
Learning Outcomes: Students will be able to1. Define cinematography as referring to camera angles, camera movement and shot size.
2. Explore and evaluate the effect of the following camera angles: low angle (LA), high angle (HA),
neutral angle (NA) and Dutch angle (DA).
3. Explore and evaluate the effect of the following shot sizes: establishing shot (ES), long shot (LS),
close-up (CU), extreme close-up (ECU), medium shot (MS) and over-the-shoulder shot (OTS).
4. Identify and evaluate the effect of the following camera movements: pan, tilt, zoom and dolly/tracking.
Note:
Students will already have been given explanatory notes and handouts defining/depicting these terms (see
Resources p.15 & 18) as they have discussed cinematography in their analysis of the exposition. This
lesson comes subsequently and it is intended to consolidate previous learning, explore the element of
cinematography in more depth and provide a break from the routine of constructing a body of evidence
from the film itself.
Teaching Methods and Learning Activities:
1. Review cinematographic elements verbally, checking for recall. Students should recall the
three sub-categories angles, movement and shot size and perhaps some specific examples, such as closeup or low angled shots.
2. Review handout on shot size, ask if students recall any examples from the film. Remind them
of specific emotive moments such as when Michele walks the plank or Barbara is slapped and see if they
can remember what the camera was doing.
3. Task: Get students in pairs to view each other through fingers that have been spread to make a
square (each forefinger and thumb should touch; think of “intsy wintsy spider”). Encourage students to
explore the shot sizes ES, LS, CU, ECU, MS and OTS. They will need to move around in order to zoom
in and out.
4. Discuss the effects of each and when each shot size could be used for effect, such as an ECU of
a smoking gun, laughing mouth, tearing eye or OTS shots in soap operas etc.
5. Review handout on camera angles and repeat the process. You need to be prepared for students
to get on chairs etc; emphasising safety might be a good idea. Discuss the effects of each and when
different angles can be used for effect and meaning e.g. to echo a power relationship between characters;
a low angle makes a subject seem powerful, threatening etc and a high angle can make a subject seem
powerless, trapped etc.
6. Repeat the process for camera movement, but get students to do this seated individually and
viewing the room around them. Discuss effects of different camera movements.
7. Get students to pick a combination of angle and shot size e.g. a CU/LA and draw a simple
object from this perspective in their books with a note identifying the angle/size and brief explanation of
the effect. If time allows, students can do several. This is good practice for the summative storyboarding
task later. Assure the students that drawing skills aren’t important but that correct use of and/or good
explanations of cinematographic conventions are.
8. Allow students to volunteer to show their work to others.
5
LEARNING NEEDS LESSON CONTINUED
Rationale:
This is a consolidating lesson that explores cinematography in more depth and in a different way.
The pedagogical approach is constructed to cater for students with visual and/or kinesthetic learning
preferences but will also assist the incorporation of this information into long term memory for all
learners. The drawing itself should stimulate the meaningful encoding of the information. It may also be
beneficial for students from a non-English speaking background, as it relies less on written explanations
while also facilitating increased and subject-specialised literacy.
It is a learner-centred and constructivist approach and this methodology is widely acknowledged
to promote learning as the students are active participants in the learning process. The teacher’s role in
this process is consequently as guider of learning rather than transmitter of knowledge. The activities
ensure that skills beyond recall are being developed. This, I believe, is empowering and motivating. This
lesson also provides a break from the discussion/writing routine and shifts the focus to small group
activities.
In this lesson structure, I’ve tried to ensure that the activities shift from a collective discussion to
pair work, then to individual work and finally the collective sharing of examples. I think this is a sound
management strategy for ensuring the lesson ends with group cohesion and an ordered “warming-down”
activity. I’ve found discussing the essay task is a good sobering way to end the class if they are a bit
rumpty afterwards. This ensures a smoother transition between different classes, as well giving the teacher
an opportunity to recap and emphasise key content.
Resources:
- Handouts on cinematography: camera angles, camera movement and shot size.
- Blank paper for students to draw on, pencils and rulers if necessary.
- Some simple objects for students to draw from if they want to such as a coffee mug, vase, can of
coke etc. Students could draw from their imaginations as well, but simplicity needs to be emphasised.
Basic drawings of buildings and perhaps individual people work well if the student is inclined, but
complex compositions should be avoided.
- Essay topics, see Resources p.16.
Assessment:
Formative:
- Observation of participation in group discussion and pair work.
- Feedback on comments and basic storyboarding ideas, including written explanations.
- Question and answer relating to storyboarding ideas, techniques and explanations.
- Question and answer on recall of terminology and evaluations of the effect of conventions
6
INTEGRATED LESSON SEQUENCE
LESSON TOPIC
1
2
3
4
5
6
LEARNING
ACTIVITIES
TEACHING POINTS
& METHODS
The discussion should be as
- Discuss films
supportive/safe as possible in
Informal
students have enjoyed. order to encourage students
Discussion of
- Introduce the film as to voice and listen to others’
Film
an Italian thriller; what opinions respectfully. Review
can we expect from a
discussion process,
View Film
thriller?
emphasising courtesy etc.
- Recap briefly events - Define synopsis and inform
from last lessons
students you will chose a
View Film
viewing: ask a student different person to give a
to deliver a brief
synopsis each day. Add to
synopsis. Ask other
word bank.
students to add events - Ensure all students have
missed.
good visibility and are being
-View Film.
attentive.
- Recap/student
- Encourage students to use
synopsis.
appropriate discussion &
View Film
- Discuss personal
social skills.
- Was the film maker
Discuss Personal response.
- Discuss thriller
successful in setting a thriller
Response
conventions and how
in the sun? Discuss.
this movie modifies
- Create a title page with title
Genre
them.
and film details.
- Add to title page a one
paragraph review.
See introductory
- Construct templates/thesis
lesson plan.
statement. Record in first
Exposition:
Focus Q:
column.
- How do the elements - Collectively generate notes
Atmosphere
of MES generate a
from discussion/brainstorm.
through
sense of atmosphere?
- Record MES evidence that
Mise-en-scene
- Use handout defining supports the thesis statement
MES, C & PP.
in the second column.
See introductory
- Collectively generate notes
Exposition:
lesson plan.
from discussion/brainstorm.
Atmosphere
Focus Q: - How do the - Record C, PP evidence that
through
supports the thesis statement
Cinematography elements of C and PP
generate a sense of
in the second and third
and
atmosphere?
column.
Post-Production
- Add terms to wordbank.
nd
- View 2 half of
- Define “juxtaposition,” add
Exposition:
exposition: camera
to word bank.
moves from below to
- Collectively discuss
Contrast
above ground.
/brainstorm MES, C & PP
and
Discuss
contrast
of
elements that are juxtaposed
Symbolism
above/below ground,
for symbolic and emotive
light/dark, movement
effect.
& stillness and its
- Construct thesis statement
effect/symbolic
on juxtaposed elements.
resonance. Record.
- Record in template.
7
ASSESSMENT
Diagnostic: What
do you know
about film in
general and what
plot events do
you recall from
this film?
Formative:
- Observation of
participation in
discussions and
focus during
viewing.
- Question and
answer relating to
personal response
e.g. “how would
the ending be
different if…”
- Finish title page
for homework.
Formative:
- Observation of
participation in
discussions and
focus during
viewing.
- Observation on
note taking, use
of template
correctly.
- Feedback on
ideas and
responses.
- Q & A e.g.
“How are
diegetic and nondiegetic sounds
used to evoke a
shift in
atmosphere?”
LESSON TOPIC
ACTIVITIES
See
lesson plan for
Cinematography:
7
learner needs.
* Give students
- View/discuss
pictorial handouts.
essay topics and
- Explore angle,
marking criteria
movement, shot size
at end of lesson,
through viewing and
review essay
drawing.
writing structure
- Discuss purposes,
and process.
meaning/effects etc of
diff uses of C.
8
9
Plot,
Narrative &
the Treatment of
Time
Character &
Relationships
TEACHING POINTS
- Cinematography is used for
diff. effects/purposes and to
enhance content meaning.
- Angles/shot size lead
audience into certain
interpretations/emotional
responses and can reveal
meaning relating to
relationships b/w characters,
perspective of one character
and perspective of viewer etc.
ASSESSMENT
Formative:
- Observation of
participation in
activity
- Feedback on
ideas, drawings,
notes,
explanations.
Focus Qs for time:
-“What length of time
is depicted in this
film?”
-“Is time elastic or
chronological, how
would the story
change if flashbacks
had been used & when
etc”
- Discuss: conflict &
resolution narrative
sequencing,
foreshadowing etc.
- Quiz on plot events
-Discussion on time and
narrative, guided by focus
questions. Students in small
groups to offer example of
when a flashback could’ve
been inserted, purpose/effect
and offer to class.
-Discussion on conflict/
resolution structure. Small
groups to offer examples of
foreshadowing and offer to
class. Record notes.
- Quiz to be organised like a
game show: small teams
/points. See resources p. 13
Formative:
- Observation of
participation in
discussion, group
work and quiz.
- Correct answers
to quiz written as
full sentences for
homework (list of
questions given
as handout).
- View scene where
we first see M.’s
family together.
Briefly discuss
collectively the
relationships and
familial dynamic.
- Students to
individually choose a
focus and construct
own thesis statement
and evidence
independently.
-Record in template
MES, C, PP evidence
corroborating chosen
focus. During the
lesson, students should
be given four
opportunities to view
the scene. Once for the
discussion, and once
each for MES, C, PP.
- Subjective point of view
shots, film from M.’s
perspective; emotive purpose,
effect = audience
identification. The viewer
sympathises with characters
M. does, is intimidated by
characters he is: our
perspective is aligned with
his.
- C. reinforces relationships
and power dynamic; mother
in shadow/background, LA
shots of Father, HA of son
etc.
- Focus could be on the
overall family dynamic, the
gender roles, the dynamic
between adults and children
or the relationship between
any two characters esp. father
and son.
8
Formative:
- Observation of
participation in
discussion and
notes /feedback.
- Homework;
write three
adjectives
describing M.
with supporting
examples.
- Feedback on
individual work.
LESSON TOPIC
10
Theme:
- Coming of Age
- Fear & Bravery
- Secrets &
Revelation
11
Symbolism
and Motifs:
Light, Life &
Revelation vs.
Darkness, Death
& Secrets
ACTIVITIES
TEACHING POINTS
ASSESSMENT
- Discuss/collective
brainstorming / record
notes.
- View plank walking
scene, note camera
angles reinforcing
sense of fear.
- View scene where
M. has discovered F.,
note how C & PP
generate a sense of
fear, panic.
- View shots of light,
darkness, discuss
/review symbolism,
effect and purpose.
- View shots of birds
as a motif. Focus Q;
“What associations do
you feel these birds
have, why and when
are they used?”
Discuss focus Q’s;
“How does M.’s attitude to
Father change/how does this
change him?”
“Who does the title statement
apply to?”
“What are the different ways
M. shows bravery and
when?”
“What characters keep
secrets/from who/why?”
Formative:
- Observation of
participation in
discussion and
notes /feedback.
Homework:
Begin draft of
essay if you
haven’t already.
Draft due for
checking over
next two lessons.
- Design a story board
that takes one short
* Essay drafts due scene from this film
for checking and and translate it from
an opportunity for M.’s point of view to
feedback in class another character’s
perspective.
time is provided.
12 Story boarding
- Exposition shot of black
out, ending shot of white out,
why?
- How is darkness and light
used to reinforce themes of
sight/blindness, life/death,
secrets/revelation or truth?
- What effect on the viewer is
created by obscuring our
vision? Other
motifs/symbols?
- Review subjective
viewpoint of film and how
cinematography reinforces
this.
- Review effects/purpose of
diegetic and non-diegetic
sound.
- Outline task requirements,
see below for details and
Resources p. 14.
Formative:
- Observation of
participation in
discussion and
notes /feedback.
Summative:
- To be assessed
according to
criteria below.
STORY BOARDING TASK INSTRUCTIONS:
- You are to take a scene from the movie and retell it in a storyboard narrative from the point of view
of a character of your choosing.
- You will be provided with a template for this, or you may design your own if you wish. It must be
between five and ten frames long.
- You must draw what the viewer will see in each frame, using camera angles and shot sizes designed
for a particular effect, meaning or purpose. You won’t be assessed on your drawing!
- Below each shot, state the camera angle and shot size used and briefly explain your intended effect.
- Also write brief notes on both non-diegetic and diegetic sounds you would use and why. If you
decide to use silence, explain why and to what effect.
ACHIEVE
Story board is correct length and
uses at least three different
camera angles/shot sizes. The
explanatory notes are clear,
identify cinematographic and
sound features correctly, and use
the appropriate terminology and
attempts evaluating effects.
MERIT
Story board/notes achieve but
more than three different camera
angles/shot sizes are used. The
explanatory notes make convincing
justifications of stylistic choices
and demonstrate the intended
effect or meaning or purpose of
both sound and cinematography.
9
EXCELLENCE
Story board/notes achieve with merit and
a range of camera angles/shot sizes have
been used for visual effectiveness and
contribute to narrative meaning. The
explanatory notes are insightful and
demonstrate that both subject and viewer
are considered in the intended effect,
meaning and purpose of each frame.
ASSESSMENT ACTIVITY: FORMAL ESSAY
FUNCTIONS/PROCESSES:
Transactional Writing, Exploring Language,
Thinking Critically, Processing Information.
ACHIEVEMENT OBJECTIVES:
LEVELS:
6, 7 & 8.
Students will analyse a film, evaluating the ways verbal, visual and aural features are organised
and combined for meaning, effect and purpose, using the appropriate terminology. Students should
use structural and stylistic conventions appropriate for formal writing and use supporting evidence
from verbal, visual and aural film elements to develop their proposition in depth.
TASKS AND INSTRUCTIONS
- Select an essay topic from the list you have been given. If you want to write on a different topic,
you must check it with the teacher first.
- Plan, draft, edit and publish an essay that clearly answers the topic question and uses supporting
evidence from visual, verbal and aural features in the film we have studied.
- Your essay should be between 350 and 450 words long, have correct spelling, grammar and
punctuation.
- It should be structured appropriately, with an introduction, body and conclusion and a correct
paragraph format.
- You will have two weeks in which to submit your final copy and opportunities within that time
for your draft to be checked during class.
- Check through the assessment schedule you have been given to make sure you are meeting the
task requirements and please feel free to ask questions about this task at any time.
TEACHING METHODS AND LEARNING ACTIVITIES
1. Review the essay writing processes planning, drafting, editing and publishing, the benefits of
peer/teacher feedback and the use of a dictionary and thesaurus. Discuss word processing
technology and its benefits, remind students of computer access available.
2. Review essay structure: the necessity for introductions, conclusions, paragraphing, topic
sentences and conventions when using supporting evidence.
3. Review T.E.X.T. structure of a paragraph: Topic sentence, Example, eXplain, Tie in to
question.
4. View student exemplars available online and discuss.
5. Run through how the template functions as a rough essay plan.
6. Provide formative feedback on drafts in class, encourage peer feedback.
RESOURCES
1. Student exemplars of literary essays.
2. Notes on film/template.
3. Dictionaries and thesauruses.
4. Whiteboard for modelling structure etc.
5. Task instructions and assessment schedule for giving to students.
10
ASSESSMENT SCHEDULE
Achievement
Merit
Excellence
Analyses the visual, verbal
and aural features of a film in
a formal piece of
transactional writing.
Analyses the visual, verbal
and aural features of a film in
a formal piece of
transactional writing
convincingly.
Analyses the visual, verbal and
aural features of a film in a formal
piece of transactional writing
convincingly and with insight.
Writing addresses the topic.
Writing conventions are
observed (i.e. text
organisation, syntax,
punctuation, spelling,
grammar).
Ideas are developed with
supporting evidence.
Style of chosen form is
appropriate to purpose and
uses some correct
terminology.
Writing addresses the topic
with some perceptive
comments.

Writing conventions are
consistently observed.
Ideas are fully developed
with an effective use of
supporting evidence.
Style of chosen form is
appropriate to purpose and
uses a range of correct
terminology.
Writing addresses the topic with a
sustained level of perception.
Writing conventions are
consistently observed and used
effectively.
Ideas are fully developed with a
consistent and effective use of
supporting evidence selected with
insight.
Style of chosen form is fluent,
sustained and appropriate to
purpose: (i.e. flair, confidence
displayed) and uses an extensive
range of correct terminology.
This assessment schedule has been adapted from assessment criteria found in both viewing and
transactional assessment guidelines from the NCEA website.
GENERAL INFORMATION: “I’m Not Scared” and Studying Film
- The film can be ordered online from a number of New Zealand companies, Fusion is the
one I used but a google search will provide more.
- Teaching notes have been published by Telecom Central (2005) and are also available to
download from www.enzedff.co.nz. These are a very helpful starting point and contain information
on the production team/actors, character/genre/theme etc and a great film glossary.
- The website http://filmsound.org/ contains an extensive glossary on sound terminology, as
well as almost anything you want to know about sound in film.
- English Online contains excellent teaching resources for film and is excellent for
terminology as well as ideas for activities.
- The reviews found here are good: http://enjoyment.independent.co.uk/film/reviews
11
RESOURCES:
The following are all original unless otherwise noted
The Film Study Template
Student elicited statement
Student elicited evidence
Mise-en-scene
Cinematography
Post-production
Lesson One identifies
mise-en-scene
features to
corroborate
statement.
Lesson Two identifies
features of
cinematography to
corroborate statement.
Lesson Two also
identifies postproduction features to
corroborate
statement.
Evidence relating to
mise-en-scene to
justify statement.
Notes taken on
acting, dialogue etc
Evidence relating to
cinematography.
Notes taken on effect of
camera angles, shot size
and movement to
reinforce viewer’s sense
of Michele as caring, use
of subjective “point of
view shots” etc
Evidence relating to
post-production.
Notes taken on effect
of editing techniques,
diegesis (music added
to enhance empathy)
etc
Evidence relating to
mise-en-scene to
corroborate
statement.
Evidence relating to
cinematography.
Evidence relating to
post-production.
Exposition; Atmosphere
“The opening atmosphere
generates a sense of foreboding
and suspense.”
Lesson one fills in a thesis
statement derived from group
discussion.
Note: the amount of time
spent on the exposition should
parallel student ability.
Character Analysis:
“Michele displays integrity and
empathy at all times; he is not
afraid to stand up for what is
right”
Theme:
“Courage and fear are
juxtaposed. Michele displays
both and it is his overcoming of
fear that centralises the comingof-age genre and the
significance of the title “I’m
Not Scared.”
This template visually links and organises the information. It can be used as a plan for an essay on
most components of any film. For example, an essay on character would make the thesis statement in the
introduction. Paragraph one deals with mise-en-scene, paragraph two deals with cinematography and
paragraph three deals with post-production, combining an analysis of visual and verbal/aural features.
Students will construct this chart and add to it as progressive lessons deal with each sub-topic.
They can come up with the information as a collective group through class discussion, in small
groups or individually for variety and in response to different learning preferences. When looking at
familial relationships for example, some students might prefer to examine the overall familial dynamic, the
gender roles or the relationship displayed by any two characters in this one scene. Because this lesson
comes later in the unit sequence, students should work individually on this.
12
PLOT QUIZ
For fun, this can delivered like a game show with small teams who use buzzers (ie make a
buzzing sound) if they know the answer. Points and small prizes are a cool idea. It is a good idea to
give students this as a handout with the correct answers to use later or complete for homework.
1.
2.
3.
4.
5.
6.
7.
8.
9.
Where and when is this movie set?
What is the name of the main character?
How old is he?
Who makes him walk the plank in the old house and why?
How does he first discover the hole?
What is the present Pino brings to his children?
How does Pino decide who will fetch the wine?
When does Pino use this strategy again in the movie?
What does the boy find when he is looking for water to give to Filipo and why is it
important?
10. How does the boy find out who Filipo is?
11. What does the boy find in Sergio’s bag?
12. What does the boy feed Filipo?
13. Why can’t Filipo open his eyes?
14. What does the boy receive from his friend in exchange for the secret?
15. What does Pino say will happen if his son goes back to the hole?
SYNOPSIS OF “I’M NOT SCARED”
I’ve cut this synopsis into paragraphs and gotten students in pairs to reassemble the synopsis
in order and glue them into their books.
Opening shot; “I’m not scared” is scratched on wall of cave, title: South Italy 1978. A group
of children are running through the corn, Michele stops to help Maria, his sister, who has dropped
her glasses. They pass a dead bird; “They passed by here.” We are introduced to Skull and the others
before we see them. Michele has lost but Barbara is told to expose herself and is slapped, Michele
pays up instead of her. He walks a rotten plank in the ceiling of a run down building, reciting stories
As they leave, Maria realises she had forgotten her glasses, M. returns for them and discovers
the cave. He sees a foot. They are late back and their mother Anna clips his ear and scolds them.
Their father Pino is in town and has brought the gondola but it can’t be played with. He arm wrestles
with his son. They argue over who fetches wine, Pino uses matches to decide (foreshadows next
time). In bed, M tells story of skeletons in ground.
He returns next day, throws stone at the foot and Filipo rears up looking bloodied and dirty.
There is lot of noise; screaming jangling music, M pedals off in a panic to fast music. He falls. M
sees the mobile shop selling shoes when he returns and is told off harshly by dad. He stays up a tree
and Maria fetches him for dinner. Pino is going out and will be home late.
The next day the kids are playing statues, and M returns to the hole and is asked for water.
While M is looking he finds a saucepan with red pictures on it which he looks at for along time.
Filipo drinks and asks for food but M has none, he goes home past the pig farm. The family sit round
the table eating, Maria doesn’t want her meat. There are signs of tension; Anna says she can’t take it
anymore. Pino tells them they will have a visitor soon and to behave.
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In bed, M makes up a story about two twins. It’s as though he tries to explain something he
can’t understand. The next day he buys bread and takes it to Filipo, seeing Skull’s older brother
Felice leaving, M. is worried about people finding leftovers and asks for his bread back. He goes
down the hole to get it, F cannot open his eyes and thinks he is dead.
That night there is a group of men at home watching F’s mother on the news pleading for
mercy for her kidnapped son. M. spies on them discussing cutting off F’s ears. M. takes the message
to F the next day and they realise they’re the same age. He arrives home and has to sleep in the same
room as Sergio who shows him photos and kills a mosquito with frightening reflexes.
In the morning M finds a gun and a newspaper showing a photo of F. on it. The family is
happy and M. is shown toy trucks by Salvatore. M tells his friend the secret in exchange for the blue
van and goes to visit F, takes him outside to play and puts him back after. Salvatore turns up with
Felice, he has told in exchange for driving lessons. M doesn’t want the van anymore. When they
return, Felice fights with Anna. Pino tells M. if he goes back he will be beaten and F. shot; it will be
his fault.
The children play the next day, a storm comes. M. find F has been moved to the caves and
helicopters circle as they return. The parents are nowhere to be seen, it is clear they are all involved.
They are in a meeting. Later that night M eavesdrops on the men arguing about what to do with F.
Pino uses his match trick. We don’t see the result. M. sneaks out to save F and is shot by his father.
Sergio is about to kill F when helicopters arrive and he surrenders.
STORYBOARD TEMPLATE
This is an example of what one frame could look like. Students should be given more than
five and of a good size for them to use.
Camera Angle
Effect
Shot size
Effect
Diegetic Sound
Effect
Non-Diegetic Sound
Effect
14
GLOSSARY OF FILM TERMINOLOGY
A Resource taken and modified from the Internet and Teaching Notes (Telecom Central, 2005)
homepage.mac.com/mseffie/ assignments/film_unit/terminology.html
Shots Size/Framing:
Establishing Shot (ES): Sets the scene or shows the space of a scene.
Long Shot (LS): A shot taken from a sufficient distance to show a landscape, a building, or
a large crowd. Shows people with space around them.
Medium Shot (MS): A shot that shows people from the waist up; the most common.
Close-up (CU): A shot of a face or object that fills the screen completely.
Extreme Close-up (ECU): A shot of a small object or a part of a face that fills the screen.
Over-the-Shoulder Shot (OTS): Camera angled over actor’s shoulder, shows what they are looking
at and commonly used in soap-operas.
Camera Angles:
Bird's Eye View: the camera is placed directly above the action being photographed.
High Angle (HA): the camera looks down at what is being photographed.
Neutral Angle (NA): the camera is set at eye level to object.
Low Angle (LA): the camera looks up at what is being photographed.
Oblique Angle: the frame is tilted laterally on its axis.
Camera Movement:
Pan: the camera moves horizontally on a fixed base
Tilt: the camera points up or down from a fixed base
Tracking (Dolly) Shot: the camera moves through space on a wheeled truck (or dolly), but stays in
the same plane
Boom: the camera moves up or down through space
Zoom: not a camera movement, but a shift in the focal length of the camera lens to give the
impression that the camera is getting closer to or farther from an object
Editing:
Cut: the most common type of transition in which one scene ends and a new one immediately begins
Fade-out/Fade-in: one scene gradually goes dark and the new one gradually emerges from the
darkness
Dissolve: a gradual transition in which the end of one scene is superimposed over the beginning of
the a new one
Wipe: an optical effect in which one shot appears to "wipe" the preceding one from the screen.
Special wipes include flip wipes, iris wipes, star wipes, etc.
Flashback/Flashforward: leads the viewer forwards or backwards in time.
15
Sound:
Diegetic: Sound that could logically be heard by an actor, also includes “internal diegetic” which is
sound that can is heard only in the mind of a character.
Non-Diegetic: Sound that is given to the audience by the director and cannot be heard by the actors.
Includes “threnody” which can be called informally uh-oh music: think “dah-dah, dah-dah” from
Jaws.
Lighting:
Low-key: Creates a shadowy effect.
High-key: Floods scene with light, creates a bright, open effect.
Neutral: Even lighting.
Side/Bottom: Direct lighting from below or one side, creates a sense of danger, suggests
wickedness.
Front/Rear: Soft direct lighting on face or back of subject, may suggest innocence or a halo effect.
Good pictorial examples of many of these terms can be found in a number of books and online.
Looking at comic strips can help visualise angles and shot size.
ESSAY TOPICS
1. How is contrast created in the exposition of “I’m Not Scared” and what effect, purpose or
meaning does it have? Refer to visual, aural and verbal film components in your answer.
2. Discuss the significance of the theme of fear/bravery in this film. How is it developed and
what meaning does it have in relation to character(s)? Refer to visual, aural and verbal film
components in your answer.
3. Discuss the significance of light and darkness in “I’m Not Scared.” You may wish to
explore themes, symbolism and filming techniques.
4. How is Michele’s character developed in this movie? Consider content AND filming
techniques.
5. How is a particular relationship between two characters developed in this movie? Consider
content AND filming techniques.
6. How does cinematography reinforce this story’s content? Pick one to three moments from
the film to discuss in detail.
7. How does sound reinforce this story’s content? Pick one to three moments from the film
to discuss in detail.
16
TWO REVIEWS TAKEN FROM THE INTERNET
These reviews could be discussed/contrasted by students; one question to discuss could be
“Should a film review give away the plot?”
1. FIRST REVIEW: I’M NOT SCARED (IO NON HO PAURA)
Gabriele Salvatores made his mark on the international film scene with his remarkable 1991
film Mediterraneo, for which he was rightly awarded the Oscar for Best Foreign Language film.
Since then, while his films haven't quite been acclaimed in a similar way, he has busily turned
himself into one of Italy's leading filmmakers with projects such as Nirvana in 1997 and 2000's
Denti. I'm Not Scared is likely to widen his worldwide cache once again.
This is a film about childhood and the moments when children realise that everything may
not be as perfect as they perceive it to be in their daydreams. The film opens in the lush corn-filled
plains of Southern Italy, where a group of young bambini wile away their days playing hide and seek
and reward games, using the local ruins as their playgrounds. These kids are by no means from
wealthy backgrounds, all living in a deprived country village where their parents struggle to make a
living.
One of the children, Michele, takes off on his own to investigate a local ruined house. After
hearing strange noises, he comes across a hole containing a mysterious figure. Soon it transpires that
the figure is another boy of roughly the same age. But what is he doing in the hole?
Salvatores knows how to build up tension from the very first shot of the film: the lush
countryside (beautifully shot by Italo Petriccione) seems like an idyllic place for the children to
roam, but it clearly also contains its own secrets and hidden dangers. The film is visually stunning,
yet simple in its make-up and editing without any sense of false bravura.
The children perform superbly in this environment, and it is hard to believe they are all
newcomers to the screen. The two leading boys, Guiseppe Cristiano and Mattia Di Pierro, are hugely
natural and believable in their respective roles and acquit themselves alongside a strong adult cast.
The film has the feel of a fairytale, but a darker and more sinister one. With plenty of genuine
tension and an unusual and well-told story, this should be a popular release outside of its native
country.
2. SECOND REVIEW
Based on the crisp novel by Niccolo Ammaniti, I'm Not Scared is set in the late 1970s in the
rural hinterland of poverty-stricken Italy. It's here that 10-year-old Michele (the quite remarkable
Giuseppe Cristiano) enjoys a life of youthful exuberance, getting up to all sorts of mischief with his
younger sister and his sometimes vicious friends. It's on one of these excursions that the little group
discovers a long derelict farm house. After they finish their mean-spirited game of dare and his
friends go home, Michele has to return to collect his sister's glasses. Whilst rummaging, he discovers
an ancient, concealed trap door. Underneath it, in a man-made pit, is a young boy, about the same
age as Michele, who is living in his own waste and starved of food and sunlight.
Repelled by his discovery, Michelle inexplicably keeps it to himself, but slowly forms a bond
with the imprisoned boy. When his usually absent father, Pino (Abbrescia) returns, Michele
instinctively knows that something is up, especially since his relationship with his wife appears to be
so fraught with tension. Ammaniti's book was an international bestseller due to its deeply insightful
recollections of childhood compounded in the shattering of innocence masked around a thrillingly
horrific premise.
Salvatores' camera captures the idyllic days of summer quite beautifully - the vast cornfields
and the glare of the sun are visually stunning, the colours of his palette extraordinary - but fails to
articulate the sheer horror and magnitude of the situation. Although he's helped in this quest with a
superb performance from his youthful and untrained leading man, the tone of the film is uneven,
lacking suspense and the sheer emotional wallop such a remarkable premise demands.
17
TERMINOLOGY
I’ve constructed this visual map of the terminology used in this unit. It can be given to
students as it is or used with certain boxes deleted as a quiz, assigning a point for each box correctly
filled. Viewing the terms as a colour coded visual mind map should improve recall and promote an
understanding of how each element is interrelated.
Simple Definitions
Mise-en-scene: Anything within the world of the film; if you were an actor in the film it’s what you
can see, hear and feel. You’re in the movie.
Cinematography: Anything to do with what the camera is doing; if you were a film-maker it’s what
you do with the camera. You’re on the sidelines.
Post-Production: Anything to do with putting the film together later; if you were an editor it’s what
you add for effect or information and how you put the frames together. You’re far away.
Mise-en-scene
Cinematography
Post-production
Sub-Titles
Non-Diegetic Sound (Artificial e.g. Music)
Body Language
Facial Expressions
Voice Over / Narration
Special/Sound Effects
Editing
Camera Movement
Camera Angles
Shot Size
Dialogue
Diegetic Sound (Natural)
Props
Acting
Costume
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