Edward Scissorhands: Previewing Predictions of Gothic Horror Film Conventions
Setting
Symbols
Archetypes
Thematic Conventions
Dichotomous Relationships
Trailer Viewing: in silence
Observe the visual images in the trailer.
Identify any Gothic Horror Film Conventions and note on the Previewing Prediction organizer
Trailer Viewing: with audio
Listen to the Sound FX, Music and Dialogue in the trailer
How does the audio now help you to Predict the Plot Elements of the story?
Discuss your prediction of the PLOT with a partner.
Further Discussion
1. Is Edward a monster to be feared? Why or why not?
2. What can you infer about the relationships in the film?
3. What connection can you make between these relationships and what you know about Gothic
Horror?
4. What dichotomous relationships do you predict will become ‘motifs’ (symbols) throughout the
film?
5. How important will they be in terms of the PLOT or creating Gothic Horror Atmosphere?
Setting




Symbols



Gothic castle
Winding Staircase
Gothic wrought iron
banister
Derelict building




 fog
Archetypes



Misunderstood Monster
Frankenstein (creation)
Innocent girl

The unknown



sadness
Scissors/blades
Scars
Black = Edward
White = Kim
darkness
loneliness
Thematic Conventions



Supernatural
Unrequited love
Crazy inventor / scientist
makes a man
 Grave-robbing
Dichotomous Relationships
Man vs machine
Light vs dark (shadows)
Castle vs suburbia (other
setting)



Summer vs winter
Hands vs claws
Black vs white
Trailer Viewing: in silence
Observe the visual images in the trailer.
Identify any Gothic Horror Film Conventions and note on the Previewing Prediction organizer
Trailer Viewing: with audio
Listen to the Sound FX, Music and Dialogue in the trailer
How does the audio now help you to Predict the Plot Elements of the story?
Discuss your prediction of the PLOT with a partner.
Further Discussion
1. Is Edward a monster to be feared? Why or why not?
2. What can you infer about the relationships in the film?
3. What connection can you make between these relationships and what you know about Gothic
Horror?
4. What dichotomous relationships do you predict will become ‘motifs’ (symbols) throughout the
film?
5. How important will they be in terms of the PLOT or creating Gothic Horror Atmosphere?
Dichotomous Symbolism in Edward Scissorhands
Use this sheet to record the use of dichotomous relationships as SYMBOLS of the Gothic Horror Genre.
Dichotomous
Relationships
Black &
White
(& Grey)
vs.
Color
Summer
vs.
Winter
In which scenes did this appear?
What is happening in the story?
In the opening scene we see the warm colorful
bedroom with the grandmother telling a story
to her granddaughter. Outside through the
window we see the grey gothic mansion on
the hill.
What do you think it means or
symbolizes?
I think the colour symbolizes humanity and
suburbia. The black and grey gothic
mansion symbolizes the monster and fear of
the unknown.
Throughout the film when everything is going
well for Edward, it is summer weather. It is at
x-mas time during winter when things start
going wrong.
The summer months symbolize happy
times, acceptance, respect and love. The
winter symbolizes rejection, fear and
physical threat. This is the only time
Edward’s scissors draw blood.
There are 2 scenes with the creator and the
creation. This is where we learn about how
Edward was ‘born’.
The creator symbolizes kindness and
intelligence – human qualities – in the end it
is his human misjudgment that creates the
conflict and problems in the story. Edward
symbolizes the child who is completely
dependent on the creator for his life’s
experiences. Parents can make mistakes!
Light
vs.
Dark
Creator
vs.
Creation
Human
vs.
Machine
Hands
vs.
Scissors
Response to Edward Scissorhands
Now that you have watched Edward Scissorhands, think about your personal response to the film.
Try to remember the specific moments that made an impression on you, confused you, made you have a strong
feeling, or caused you to have some other reaction. What parts would you want to watch again? Did your
awareness of dichotomous relationships change the way you normally would have experienced the movie?
Break your response down into these five literary element categories. For each category, choose one detail
from the film that fits into that category and describe it. Then write a response to the detail—did it confuse you,
excite you, make you sad, make you angry, etc.?
Literary Techniques
PLOT structure
Recount what you noticed
Give a personal Response
Make a connection to self, text etc.
Mostly told through dialogue and action
(some narration in the beginning)
Gothic Horror
Symbols
Gothic Horror Setting
Archetypes &
Characters
Edward’s character based on Frankenstein
archetype – lonely, misunderstood, created.
Dressed in black – lots of metal to show he was
made – part machine
Kim- innocent young maiden who is loved by the
monster. Often dressed in white to symbolize
innocence.
Dichotomous
Relationships
Gothic Thematic
Conventions
Additional techniques
that you noticed
Characters were like fairy tale
characters.
Reminded me of Shrek– the story of a
monster that was actually very kind who
was in love with an innocent maiden.
Reading Exercise:
Synopsis of the Plot: Edward Scissorhands
The story begins with an old lady telling her granddaughter the story of snow. This opening frame leads
into the story of how Edward came to live temporarily in a suburban town. Edward Scissorhands is the creation
of an inventor who lives in a large gothic mansion at the end of a suburban street. After Peg, the local Avon
woman, brings him to live with her family, the women in the community become enthralled with the strange
visitor who has scissors for hands. He becomes a “self made man” when he is able to demonstrate his
scissorhanded skillfulness. He cuts bushes, dogs, ladies’ hair and majestic ice sculptures, prompting Peg’s
husband and the other citizens to encourage and respect him. Meanwhile, Peg’s teenage daughter, Kim
becomes the object of Edward’s innocent affections. Through a series of flashbacks, it is revealed that
Edward’s creator took great pains to civilize his creation; however, he died before attaching Edward’s human
hands. Kim’s boyfriend, Jim, attempts to implicate Edward in theft; Edward is arrested, but is released when a
psychological examination reveals that his isolation had allowed him to live without a traditional sense of
ethics. By the end of the movie, Kim has come to love Edward. She protects him by telling the town that he
died fighting with her jealous boyfriend in the mansion. At the close of the movie, it is revealed that the old
woman telling the story is an elderly Kim. She concludes the bedtime tale by explaining that before Edward
came down from his mansion, it had never snowed in the town. (13 sentences)
1.
MAJOR TASK
Create a short multimodal text that incorporates the full range of MultiModal techniques appropriate to a Gothic
Horror Narrative.
Synopsis of your story detailing the main elements of the PLOT.
Storyboard and screenplay.
Up to 4 students per group. Each Student must have a producing role.
1. Adapt one of the Gothic Horror Narratives stories to become a Multi Modal text (choose either film,
claymation or animation)
2. In addition to the Decide if you will act or script writer – each group member must write a draft
dialogue.
3. # of people in the group
Scene Viewing Guide (Adapted from Golden’s Film Viewing Notes)
Scene Title: Peg Welcomes Edward into Her Home
Scene Summary:
As you watch the scene, jot down significant observations for the following elements of the film:
Theatrical Elements (costumes, props, sets, acting, etc.)
Literary Elements (characterization, setting, tone, point of view, irony, dialogue)
Cinematic Elements (framing, angles, editing, sound, lighting, focus, movement)
After Viewing: Look back over your notes and explain the intended effect of two of the cinematic elements you
noticed. In other words, why did the director choose to use them? How do they relate to the literary events
within the scene?
Scene Viewing Guide (Adapted from Golden’s Film Viewing Notes)
Scene Title: Edward Becomes Angry
Scene Summary:
As you watch the scene, jot down significant observations for the following elements of the film:
Theatrical Elements (costumes, props, sets, acting, etc.)
Literary Elements (characterization, setting, tone, point of view, irony, dialogue)
Cinematic Elements (framing, angles, editing, sound, lighting, focus, movement)
After Viewing: Look back over your notes and explain the intended effect of two of the cinematic elements you
noticed. In other words, why did the director choose to use them? How do they relate to the literary events
within the scene?
Answer these Questions with a Partner: In terms of the cinematic and literary elements, how are the two
sequences similar/different? What has changed/stayed the same from the beginning to the end of the plot?
How do the literary and cinematic elements tell you that? How do these scenes relate to the overall theme of
Edward Scissorhands?
Letter 1
To Mrs. Saville, England.
YOU will rejoice to hear that no disaster has accompanied the commencement of an enterprise which you have
regarded with such evil forebodings. I arrived here yesterday; and my first task is to assure my dear sister of my
welfare, and increasing confidence in the success of my undertaking.
I am already far north of London; and as I walk in the streets of Petersburgh, I feel a cold northern breeze play
upon my cheeks, which braces my nerves, and fills me with delight. Do you understand this feeling? This
breeze, which has travelled from the regions towards which I am advancing, gives me a foretaste of those icy
climes. Inspirited by this wind of promise, my day dreams become more fervent and vivid. I try in vain to be
persuaded that the pole is the seat of frost and desolation; it ever presents itself to my imagination as the region
of beauty and delight. There, Margaret, the sun is for ever visible its broad disc just skirting the horizon, and
diffusing a perpetual splendour. There -- for with your leave, my sister, I will put some trust in preceding
navigators -- there snow and frost are banished; and, sailing over a calm sea, we may be wafted to a land
surpassing in wonders and in beauty every region hitherto discovered on the habitable globe. Its productions
and features may be without example, as the phenomena of the heavenly bodies undoubtedly are in those
undiscovered solitudes. What may not be expected in a country of eternal light? I may there discover the
wondrous power which attracts the needle; and may regulate a thousand celestial observations, that require only
this voyage to render their seeming eccentricities consistent forever. I shall satiate my ardent curiosity with the
sight of a part of the world never before visited, and may tread a land never before imprinted by the foot of man.
These are my enticements, and they are sufficient to conquer all fear of danger or death, and to induce me to
commence this laborious voyage with the joy a child feels when he embarks in a little boat, with his holiday
mates, on an expedition of discovery up his native river. But, supposing all these conjectures to be false, you
cannot contest the inestimable benefit which I shall confer on all mankind to the last generation, by discovering
a passage near the pole to those countries, to reach which at present so many months are requisite; or by
ascertaining the secret of the magnet, which, if at all possible, can only be effected by an undertaking such as
mine.
These reflections have dispelled the agitation with which I began my letter, and I feel my heart glow with an
enthusiasm which elevates me to heaven; for nothing contributes so much to tranquillise the mind as a steady
purpose -- a point on which the soul may fix its intellectual eye. This expedition has been the favourite dream of
my early years. I have read with ardour the accounts of the various voyages which have been made in the
prospect of arriving at the North Pacific Ocean through the seas which surround the pole. You may remember
that a history of all the voyages made for purposes of discovery composed the whole of our good uncle
Thomas's library. My education was neglected, yet I was passionately fond of reading. These volumes were my
study day and night, and my familiarity with them increased that regret which I had felt, as a child, on learning
that my father's dying injunction had forbidden my uncle to allow me to embark in a seafaring life.
These visions faded when I perused, for the first time, those poets whose effusions entranced my soul, and lifted
it to heaven. I also became a poet, and for one year lived in a Paradise of my own creation; I imagined that I
also might obtain a niche in the temple where the names of Homer and Shakespeare are consecrated. You are
well acquainted with my failure, and how heavily I bore the disappointment. But just at that time I inherited the
fortune of my cousin, and my thoughts were turned into the channel of their earlier bent.
Six years have passed since I resolved on my present undertaking. I can, even now, remember the hour from
which I dedicated myself to this great enterprise. I commenced by inuring my body to hardship. I accompanied
the whale-fishers on several expeditions to the North Sea; I voluntarily endured cold, famine, thirst, and want of
sleep; I often worked harder than the common sailors during the day, and devoted my nights to the study of
mathematics, the theory of medicine, and those branches of physical science from which a naval adventurer
might derive the greatest practical advantage. Twice I actually hired myself as an under-mate in a Greenland
whaler, and acquitted myself to admiration. I must own I felt a little proud when my captain offered me the
second dignity in the vessel, and entreated me to remain with the greatest earnestness; so valuable did he
consider my services.
And now, dear Margaret, do I not deserve to accomplish some great purpose? My life might have been passed
in ease and luxury; but I preferred glory to every enticement that wealth placed in my path. Oh, that some
encouraging voice would answer in the affirmative! My courage and my resolution are firm; but my hopes
fluctuate and my spirits are often depressed. I am about to proceed on a long and difficult voyage, the
emergencies of which will demand all my fortitude: I am required not only to raise the spirits of others, but
sometimes to sustain my own, when theirs are failing.
This is the most favourable period for travelling in Russia. They fly quickly over the snow in their sledges; the
motion is pleasant, and, in my opinion, far more agreeable than that of an English stage-coach. The cold is not
excessive, if you are wrapped in furs -- a dress which I have already adopted; for there is a great difference
between walking the deck and remaining seated motionless for hours, when no exercise prevents the blood from
actually freezing in your veins. I have no ambition to lose my life on the post-road between St. Petersburgh and
Archangel.
I shall depart for the latter town in a fortnight or three weeks; and my intention is to hire a ship there, which can
easily be done by paying the insurance for the owner, and to engage as many sailors as I think necessary among
those who are accustomed to the whale-fishing. I do not intend to sail until the month of June and when shall I
return? Ah, dear sister, how can I answer this question? If I succeed, many, many months, perhaps years, will
pass before you and I may meet. If I fail, you will see me again soon, or never.
Farewell, my dear, excellent Margaret. Heaven shower down blessings on you, and save me, that I may again
and again testify my gratitude for all your love and kindness. -- Your affectionate brother,
R. Walton.
Dichotomous Relationships in Letter 1 of Frankenstein
After you read, fill in this chart and find one new motif to discuss.
Dichotomous
Meaning of the symbol
Dialogue associated
Motifs
with the symbol
1. Hot vs. Cold
Cold- North, snow, frost,
wind, icy, breeze,
State of his heart,
representation of loneliness,
region of searching
Hot- Sun, heat, passion,
sweat
2. Day vs. Night
3. Ease vs. Difficulty
4. Civilized vs.
__________
5.
Day 4
Use of Symbols/ Motifs in Myth: Introduction to Edward Scissorhands
Predict Gothic Horror Clichés & Conventions that may be present in the film Edward Scissorhands
Discuss your prediction of the PLOT with a partner.
Objectives: Students will motifs in horror genre.
Students will infer prominent motifs in a film from brief trailer for film.
Students will analyze motifs to predict future use in the film.
Materials: Motif/symbol handout, trailer from Edward Scissorhands, semantic web on horror from days one
and two.
Preparation: Class will begin with a discussion of questions from previous day. The students will probably
infer that the connection between good and evil, night and day, cold and hot as well as the others will be
important in the rest of the novel and may predict man vs. machine, creator and destroyer or life vs. death will
become important as can be seen in analysis of horror as a genre, and in the monster myth as a universal
concept. Other relationships mentioned will be carried over into introduction to Edward Scissorhands, since
most of the same motifs exist in the film as in Frankenstein.
Presentation: Teacher will show the trailer from Edward Scissorhands that advertises the movie and will ask
the students to identify dichotomous motifs found in analysis of horror as a genre as well as to brainstorm a list
of other possible motifs based on the title. The teacher will explain the director’s use of imagery to display
motifs and ask the students to look for motifs, which may contain the following dichotomies: summer vs.
winter, the use of color vs. black and white, man vs. machine, creator vs. creation and the image of hands vs.
claws, etc. Once the students have brainstormed these dichotomies, they will use their prior knowledge of the
genre and of the film to anticipate the way the director might employ these motifs in his film. Later, as the
students view important scenes containing these symbols, the teacher will stop the film and discuss the uses.
Practice: The teacher will hand out the “Dichotomous Motifs” log and ask the students to put their predictions
on the sheet underneath the symbols in the left-hand column. The teacher will tell them to look for these
symbols and motifs as they watch the film. The chart will essentially serve as a “color marking” activity for the
viewing of the film in which students notice symbols as well as the relationship of the symbols. The completed
chart will be discussed and evaluated after viewing the film. The students will be asked to look for other
symbols or motifs not listed on the handout and list them on the back of the sheet. Assessment of chart will be
completed after completion of film.
Dichotomous Symbols in Edward Scissorhands
As you watch the film, fill in this chart. Use the back of this sheet to record any other motifs that reoccur in the
film that lend to our understanding of the “monster myth” or of horror as a genre.
Dichotomous
Motifs
Summer vs. Winter
Scene/Dialogue associated
with the symbol
1.
2.
3.
Human vs. Machine
1.
2.
3.
Black/white vs. Color
1.
2.
3.
Private vs. Public
1.
2.
3.
Religious vs. Secular
1.
2.
Meaning of the symbol
3.
Creator vs. Creation
1.
2.
3.
Hands vs. “claws”
1.
2.
3.
By Joanna Rainaldi
Day 5: Literary Elements through Film Narrative, Part One: The Literary Medium
Introduction: In the previous four lessons, students have been introduced to the narrative structure and symbols
within the monster tale Edward Scissorhands within the film and literary horror genre. The lessons have been
structured so that before the students begin day five, they will have viewed the movie in its entirety, using the
handouts and instruction provided to them in the first four lessons as their focus. The next two lessons are
designed for students to continue to view the film critically in preparation for transitioning into a unit on another
text in the horror genre, Frankenstein. In these two lessons, students will use what they already know about
reading a literary text to form initial responses to the film. Having watched the whole film through once, they
will return to specific sequences and screen shots to break down their consumption of film narrative and to learn
how to “read” the literary elements by analyzing how the elements are cinematically presented to them.
Sunshine State Standards
LA.A.1.4.3 Refines vocabulary for interpersonal, academic, and workplace situations, including
figurative, idiomatic, and technical meanings.
LA.B.2.4.1 Writes text, notes, outlines, comments, and observations that demonstrate comprehension
and synthesis of content, processes, and experiences from a variety of media.
LA.C.1.4.3 Uses effective strategies for informal and formal discussions, including listening actively and
reflectively, connecting to and building on the ideas of a previous speaker, and respecting the viewpoints of
others.
LA.D.2.4.2 Understands the subtleties of literary devices and techniques in the comprehension and
creation of communication.
LA.D.2.4.5 Critically analyzes specific elements of mass media with regard to the extent to which they
enhance or manipulate information.
LA.E.1.4.1 Identifies the characteristics that distinguish literary forms.
LA.E.2.4.1 Analyzes the effectiveness of complex elements of plot, such as setting, major events,
problems, conflicts, and resolutions.
LA.E.2.4.2 Understands the relationships between and among elements of literature, including
characters, plot, setting, tone, point of view, and theme.
Long Term Objectives
 Students will analyze the horror genre in print and film texts
 Students will compare different forms of the monster tale
 Students will apply critical thinking strategies to the viewing of a film
Short Term Objectives
 Students will develop response statements to the whole film


Students will identify literary elements as they are presented in film
Students will analyze a film narrative for characterization, setting, point of view, tone and irony
Materials: Edward Scissorhands, DVD player, handouts
Procedure
 The students will complete the first portion of the Response to Edward Scissorhands handout
individually. They will share their response with a partner and several examples will be shared with the
whole class.
 The teacher will review the definitions of the five literary elements as they have related to traditional
texts used in the classroom.
o Characterization: the method used by a writer to develop a character.
o Setting: the time, the place, and the social environment that frames the characters; can be used to
evoke a mood or atmosphere that will prepare the reader for what is to come.
o Point of View: who tells us the story, (narrator) and how it is told. In literature, POV can be
divided into two broad categories: first person POV and third person POV. In film, POV can be
omniscient, restrictive, disengaged, or a mixture of them.
o Tone: the author's attitude toward the subject matter, can be revealed through literary elements
such as setting, dialogue, conflict, and plot.
o Irony: the literary technique that involves surprising, interesting, or amusing contradictions.
 Verbal irony: when the writer or speaker says one thing but really means something
different. Sarcasm usually fits this category.
 Situational Irony: when the character(s) and the audience expect one thing to happen
and the opposite actually happens.
 Dramatic Irony: when the reader or audience knows something the character(s) does not
know.
 With a partner, the students will complete the second portion of the Response to Edward Scissorhands
handout, combining their responses to fill in the five categories in the literary element chart.
 The teacher will lead a whole class discussion, during which the students will share examples they
recalled along with their personal responses to the examples.
 The students will view selected scenes that further illustrate each literary element, recording the
description and developing a personal response on the third portion of the Response to Edward
Scissorhands handout.
o Characterization: show 22:53-23:15
o Setting: show 15:44-16:35
o Point of View: show 4:10-5:17
o Tone: show 31:25-36:46
o Irony: show 8:00-11:00
 The teacher will lead a whole class discussion, during which the students will begin to describe how
they believe the film leads them to be able to analyze the chosen scenes in terms of each chosen literary
element (the technical vocabulary will follow in tomorrow’s lesson).
Evaluation: Students will receive an individual grade for the topicality of their written responses on the
handout, as well as a participation grade for working cooperatively with a partner to complete the chart.
Day 6: Literary Elements through Film Narrative, Part Two: The Filmic Medium
Introduction: In yesterday’s lesson, students used what they already knew about literary elements to further
focus their responses to the film narrative. They viewed several segments and stills to illustrate examples of
each literary element in Edward Scissorhands. The immediate purpose of today’s lesson is to focus the
attention of the students on the function of the literary elements in a film narrative specifically. In the final two
lesson plans, the focus of the unit will again return to the study of Edward Scissorhands as a monster tale within
the horror genre, creating a natural transition into the study of a more traditional text, Frankenstein.
Sunshine State Standards
LA.A.1.4.3 Refines vocabulary for interpersonal, academic, and workplace situations, including
figurative, idiomatic, and technical meanings.
LA.B.2.4.1 Writes text, notes, outlines, comments, and observations that demonstrate comprehension
and synthesis of content, processes, and experiences from a variety of media.
LA.C.1.4.3 Uses effective strategies for informal and formal discussions, including listening actively and
reflectively, connecting to and building on the ideas of a previous speaker, and respecting the viewpoints of
others.
LA.D.2.4.3 Recognizes production elements that contribute to the effectiveness of a specific medium.
LA.D.2.4.5 Critically analyzes specific elements of mass media with regard to the extent to which they
enhance or manipulate information.
Long Term Objectives
 Students will analyze the horror genre in print and film texts
 Students will compare different forms of the monster tale
 Students will apply reading strategies to the viewing of a film
Short Term Objectives
 Students will identify cinematic techniques used in a film, including lighting, focus, framing, sound,
camera angle, camera movement and editing
 Students will analyze a film for the function of the cinematic techniques used to develop the literary
elements of the film narrative
 Students will evaluate the visual representation of the monster tale within the horror genre
Materials: Edward Scissorhands, DVD player, paper to create rolled cameras, handouts
Procedure
 The teacher will select examples from yesterday’s lesson to review the literary elements and:
characterization, plot, point of view, tone and irony.
 The teacher will introduce students to the technical vocabulary to be used in analyzing the cinematic
techniques used in the film (definitions come from Appendix A of John Golden’s Reading in the Dark).
The teacher will do this using the rolled paper technique that Golden describes in his book (pp.1-25).
o Framing/Shot
o Focus
o Camera Angle
o Sound
o Camera Movement
o Lighting
o Editing
 The students will view the scene in which Edward first eats dinner with the family (24:23-26:23). This
scene was chosen for its ability to combine many of the literary elements. It is also a simple scene to
which the students can begin to understand how to combine their analyses to include literary elements
and cinematic technique. They will use the Scene Viewing Guide to watch the scene, and then evaluate
their own responses as the teacher does a think aloud.
 The students will view two longer sequences of scenes that come at the beginning and end of the movie.
They will independently fill out one Scene Viewing Guide for each sequence.
o Peg Welcomes Edward into Her Home (17:53-22:52)
o Edward Becomes Angry (1:11:10-1:13:35)
 With a partner, the students will answer the final question on the Scene Viewing Guide. Examples will
be shared with the class in a whole class discussion.
Evaluation
 In order to demonstrate the ability to apply the function of cinematic techniques in developing literary
elements, the students will select a scene from the movie to analyze for three of the six elements. In
groups of three, they will write a three-paragraph scene guide (one element per paragraph) to present to
the class.
 Each group member will receive an individual grade for his/her one-paragraph literary element analysis,
as well as a group grade for the continuity of the scene analysis and the presentation.
Response to Edward Scissorhands
Now that you have watched Edward Scissorhands, think about your overall reaction to the film. Try to
remember the specific moments that made an impression on you, confused you, made you have a strong feeling,
or caused you to have some other reaction. What parts would you want to watch again? Did your awareness of
motifs change the way you normally would have experienced the movie?
Break your response down into these five literary element categories. For each category, choose one detail
from the film that fits into that category and describe it. Then write a response to the detail—did it confuse you,
excite you, make you sad, make you angry, etc.?
Literary Elements
Characters:
Setting:
Symbols
Tone
Gothic Horror Narrative
In Edward ScissorHands
Irony
Guided Viewing of Beginning Scenes from Edward Scissorhands
Literary Elements
Characters (22:53-23:15)
Description/Retelling
The CHURCH LADY watches from her
window as the other women in the
neighborhood rush over to Peg’s house
to find out about the mysterious guest.
As in other scenes, she is frowning and
seems to be planning something.
This character seems like a small
character, but in this story, no character
is without significance. Here she is
shown looking out her window, just like
Edward was in the opening scene. We
quickly identify her, according to
dialogue and Peg’s decision not to sell
Avon cosmetics to her, as an outsider or
reject. She, like Edward, looks in on the
perfect neighborhood from their outside
locations of kitschy living room and dark
mansion. If we compare characters, we
can understand why we might feel
uneasy with the neighborhood ladies
seeming to immediately accept Edward.
We know that he is also an outsider, and
we come to expect them to turn on him.
Setting (15:44-16:35)
As Peg drives Edward home, he looks
out the car window and observes the
happenings of the suburban
neighborhood. The homes are painted in
various shades of pastel, and the citizens
participate in outdoor activities such as
cutting the lawn, talking in the driveway,
playing on the slip and slide, and
watering the flowers with a hose.
The setting of the town is portrayed
visually and through dialogue. Pay
Your Response to It
attention to how you feel about the
neighborhood versus the mansion on the
hill, as they are both important locations
in the development of plot and symbolic
meaning.
Other important settings include: the
shopping center, the bank, Jim’s house,
the time period of the flashbacks, and the
time period of the beginning scenes from
when the story is told.
Point of View (4:10-5:17)
The story within the story begins with
the old woman telling the little girl about
the inventor who lived on the mountain
and the man he created and left there
after he died.
As the old woman speaks, the audience
sees the old mansion on top of the
mountain out the window. Then we
move over the snowy, sleepy, suburban
town below the mountain, pausing on
the old mansion again. Finally, we look
out the window down on the town, over
the shoulder of a man looking out the
window.
Tone (31:25-36:46)
If we think in terms of traditional
narrative, the point of view is third
person limited. Because film applies
point of view a little differently, we can
understand that when we are looking up
at the castle, we are in an omniscient
narrative, and when we look over
Edward’s shoulder, we are in a restricted
narrative. This distinction will come in
useful later in the film when we are put
in the position of Edward at the dinner
table.
The neighborhood ladies push their way
onto Peg’s doorstep, exclaiming that it is
rude for her to keep her mysterious guest
to herself. Peg tries to call Bill to the
door to help ward off their self-invites to
a BBQ Peg didn’t even plan on having.
They are later shown grouped together at
the BBQ, still consumed with curiosity
about Edward.
Tone is the most subtle of literary
elements presented in the movie. Why
do we feel so uncomfortable in front of
these women? They break the
conventions of etiquette that Edward
learned from the inventor. Their actions
and words make Peg (up to this point,
our narrative guide) feel uncomfortable.
They always move in a large group of
solid color. What is Tim Burton, or the
old woman telling the story trying to tell
us about these women? How do you feel
about them?
Irony (8:00- 11:00)
(As described in Golden text) As Peg
becomes more and more dejected with
not being able to sell cosmetics to her
neighbors, she catches sight of the dark
mansion in her rearview mirror. She
figures she might as well try there too.
After driving through the gates, she
walks through the yard of the mansion.
It is beautiful and delicately manicured.
The sun shines down from the perfect
blue sky.
The scene is ironic if we understand the
horror genre, which tells us that dark
homes on top of mountains are
indicators of rundown yards and evil
homeowners. Ironically, Peg and the
audience find a lovely garden within the
gates, as well as a compassionately
lovely man within the mansion’s
shadows.
Technical Film Vocabulary
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Framing/Shot: the image that is seen on-screen until it is replaced by another image through some type of
editing technique; how the object will be positioned within the shot, or how much of the movie screen the
object will occupy.
o Long Shot
o Close Shot
o Medium Shot
Focus
o Soft Focus
o Rack Focus
o Deep Focus
Camera Angle: where the camera will be placed in relation to the subject
o Low Angle
o High Angle
o Eye Level
o Dutch Angle
Sound: the dialogue, music, sound effects, as well as pitch, timbre, direction, location on screen, etc. of the
sounds included in the film
o Diagetic Sound
o Nondiagetic Sound
o Internal Diagetic Sound
Camera Movement: how and where the camera will move while recording a shot
o Pan
o Tilt
o Zoom
o Tracking/Dolly Shot
Lighting: the role that light plays in creating a particular effect desired by a director
o Low-Key Lighting
o High-Key Lighting
o Neutral Lighting
o Bottom/Side Lighting
o Front Lighting
Editing: the methods by which a director chooses to move from one shot to another
o Fade
o Dissolve
o Crosscut
o Flashback/Flashforward
o Eye-Line Match
o Editing Rhythm and Duration
Scene Viewing Guide (Adapted from Golden’s Film
Notes)
Scene Title: Edward Eats Dinner with Peg’s Family
Viewing
Scene Summary:
As you watch the scene, jot down significant observations for the following elements of the film:
Theatrical Elements (costumes, props, sets, acting, etc.)
Literary Elements (characterization, setting, tone, point of view, irony, dialogue)
Cinematic Elements (framing, angles, editing, sound, lighting, focus, movement)
After Viewing: Look back over your notes and explain the intended effect of two of the cinematic elements you
noticed. In other words, why did the director choose to use them? How do they relate to the literary events
within the scene?
Scene Viewing Guide (Adapted from Golden’s Film Viewing Notes)
Scene Title: Peg Welcomes Edward into Her Home
Scene Summary:
As you watch the scene, jot down significant observations for the following elements of the film:
Theatrical Elements (costumes, props, sets, acting, etc.)
Literary Elements (characterization, setting, tone, point of view, irony, dialogue)
Cinematic Elements (framing, angles, editing, sound, lighting, focus, movement)
After Viewing: Look back over your notes and explain the intended effect of two of the cinematic elements you
noticed. In other words, why did the director choose to use them? How do they relate to the literary events
within the scene?
Scene Viewing Guide (Adapted from Golden’s Film Viewing Notes)
Scene Title: Edward Becomes Angry
Scene Summary:
As you watch the scene, jot down significant observations for the following elements of the film:
Theatrical Elements (costumes, props, sets, acting, etc.)
Literary Elements (characterization, setting, tone, point of view, irony, dialogue)
Cinematic Elements (framing, angles, editing, sound, lighting, focus, movement)
After Viewing: Look back over your notes and explain the intended effect of two of the MultiModal elements
you noticed. In other words, why did the director choose to use them? How do they relate to the literary events
within the scene?
Answer these Questions with a Partner: In terms of the cinematic and literary elements, how are the two
sequences similar/different? What has changed/stayed the same from the beginning to the end of the plot?
How do the literary and cinematic elements tell you that? How do these scenes relate to the overall theme of
Edward Scissorhands?
By Lauren Tripp
Day Seven
Making the Connection to Frankenstein:
An Introduction to the Socratic Seminar
Introduction/Purpose
After completing the actual viewing of Edward Scissorhands, the students have now collected a wealth of
information on the horror genre, the dichotomous motifs in the movie and in Frankenstein, the “monster”
archetype as it relates to Edward Scissorhands, the visual sequencing of the movie, and the narrative structure
of the movie through Freytag’s triangle. In the last two days of this unit, all these elements come together to
allow students to effectively participate in a Socratic seminar to synthesize these elements and connect them
with their next text, Frankenstein.
Sunshine State Standards
LA.A.1.4.4 applies a variety of response strategies, including rereading, note taking, summarizing,
outlining, writing a formal report, and relating what is read to his or her own experiences and feelings.
LA.B.2.4.1 writes text, notes, outlines, comments, and observations that demonstrate comprehension
and synthesis of content, processes, and experiences from a variety of media.
LA.C.1.4.3 uses effective strategies for informal and formal discussions, including listening actively and
reflectively, connecting to and building on the ideas of a previous speaker, and respecting the viewpoints of
others.
LA.D.2.4.3 recognizes production elements that contribute to the effectiveness of a specific medium.
LA.E.2.4.7 examines a literary selection from several critical perspectives.
Objectives
1. Students will combine the elements learned in previous days’ lessons to create questions for the Socratic
Seminar
2. Students will identify the narrative elements of Freytag’s triangle in regards to Edward Scissorhands
3. Students will identify the levels of questions for a Socratic Seminar as explained in attached handout
4. Students will create questions based on those levels
Preparation
These last two days are a wrap-up for all that has been discussed in the previous two weeks. As a result,
students will be combining a variety of elements to “get the big picture.” The first element they will be required
to review is the idea of Freytag’s triangle. Students will get out their handouts from Day Two and complete
Freytag’s triangle with regards to Edward Scissorhands. Where was the rising action? Where was the climax?
What was the resolution? Was it satisfactory? Did it give you that sense of relief? This will be a whole class
activity. At this point, students will also be provided with a plot summary of Frankenstein as a prereading
strategy, and also to enable them to make the connections necessary for the following questions.
Next, we will discuss the concept of a Socratic Seminar. What is it? What will we be discussing? These
questions will be answered in lecture format. The following handout will be provided with the different types of
questions we will expect to cover in our Socratic Seminar. Students will fill out the blank areas during group
discussion.
Type of Question
Text
Reader
Other Literature
Text/Reader
Text/Other Literature
Reader/World
Reader/Other Literature
DENSE
Text/Reader/World or
Text/Reader/Other
Literature
Description
Information found in the
text (this means movie for
us!)
Reader’s/Viewer’s
experience, values or ideas
(That means you!)
Knowledge of other
literature (In this case,
Frankenstein)
Combines knowledge of
text with reader’s values or
ideas
Example
Where does Peggy find
Edward at the beginning of
the movie?
How is your neighborhood
similar/different to Peggy’s
neighborhood?
How does Edward compare
to Dr. Frankenstein’s
monster?
How did your concept of a
“monster” compare with
Edward as the “monster” in
the movie?
Combines knowledge of
What symbols or motifs in
text with knowledge of
the movie connect with the
other literature (again,
traditional “monster” genre
Frankenstein)
and Frankenstein in
particular?
Combines reader’s
Should we as a society be
experiences with knowledge allowed to “create” human
of outside world/science
beings as Edward’s creator
did? What other scientific
advancements does this
remind you of?
Combines reader’s
experiences with
Frankenstein
Combines knowledge of all
three areas into one DENSE
question
Three Areas
Text
Reader
World/Other
Literature
Diagram and Chart taken from The English Teacher’s Companion, Jim Burke (p. 249)
Practice
Students will split into groups to create their own questions for the Socratic Seminar. Each group will create one
question for each category, using their plot narrative models for assistance to make sure they cover all areas of
Freytag’s triangle. Students should also include questions based on the visual sequencing, camera angles and
motifs and symbols discussed earlier in the unit. Students should have their notes and handouts to help them
write these questions.
Evaluation
Students will be evaluated on their individual Freytag Triangle models, as well as their group questions for the
Socratic Seminar. Questions should fulfill the individual requirements of their categories, as well as the
requirements of the parts of the unit covered earlier in the week.
Day Eight
Making the Connection to Frankenstein
The Socratic Seminar
Introduction/Purpose
Today’s lesson will allow the students to state their own questions, as well as answer the questions of their
peers. The format of the Socratic Seminar will be an Inside/Outside Circle. The students will be able to
synthesize what they have learned about the types of questions that are expected in a Socratic Seminar with
what they have learned about Edward Scissorhands and the monster/horror genre. This will prepare them for
reading Frankenstein in full and their final project after that is completed, which is a research paper combining
all these elements.
Sunshine State Standards
LA.B.2.4.1 writes text, notes, outlines, comments, and observations that demonstrate comprehension
and synthesis of content, processes, and experiences from a variety of media.
LA.C.1.4.3 uses effective strategies for informal and formal discussions, including listening actively and
reflectively, connecting to and building on the ideas of a previous speaker, and respecting the viewpoints of
others.
LA.D.2.4.3 recognizes production elements that contribute to the effectiveness of a specific medium.
LA.E.2.4.7 examines a literary selection from several critical perspectives.
Objectives
1. Students will synthesize the types of questions required with their information from previous days to
create Socratic Seminar questions
2. Students will draw on that same information to answer these questions in an Inside/Outside Circle
format
3. Students will answer questions from all levels of questioning
4. Students will complete an evaluation form which gives feedback on the process of the seminar itself, as
well as self-evaluate their own participation
Preparation
The teacher will organize the chairs into two concentric circles. The rules of the Socratic Seminar will be posted
as follows (along with any agreed-upon additions from the class):
1. Come prepared, with your questions, notes and handouts from the rest of the unit.
2. Be courteous – no put-downs, no sarcasm.
3. Allow each participant enough time to finish his/her thoughts.
4. Speak up if no one else is talking – don’t worry about raising your hand!
5. Be an active listener.
6. Take notes and be able to summarize the discussion when you are in the outside circle.
Practice
The students in the interior circle will speak first, answering half of the questions, at the teacher’s discretion.
The exterior circle will take notes while the interior circle is speaking, and then the two circles will switch.
Students will be expected to stay on task. The teacher will act as a moderator if needed.
When all questions have been discussed, or time runs out, the teacher will wrap up the discussion with a few
summarizing questions. Students will be expected to complete the evaluation form below.
Evaluation
While students are speaking, the teacher will be evaluating them based on these criteria:
1. Students seek understanding in collaboration with others.
2. Students ask questions about the text.
3. Students refer to the text for support.
4. Students refer to the ideas or words of others.
5. Students make connections with text and/or between texts.
Successful participants will incorporate all of these elements. Students will as well fill out an evaluation form
that asks for feedback on the process of the seminar itself, as well as a self-evaluation based on the above
criteria.