Marcy - Notes in GREEN
In one of my Masters courses, we had a study of film as an art form. In many
curriculums, the students study film as an important part of literacy, so I
know I will enjoy reading this.
UNIT PLAN:
Using Film to Augment and Complement Reading “Frankenstein”
Joe Boyd
ED5354
Dr. Sloat
April 20, 2010
Rationale
For Film and Novel Study Unit for Grade 11 or 12
Duration: Four or five weeks
No novel survives intact the translation into film: the bulk of the artistry remains firmly
and stubbornly fixed between its pulpy, well-worn covers. Clever turns of phrase, inspired
descriptive passages, philosophical ruminations, hypnotic interior monologues - these stand
helplessly by as the commissioned script-writer reaches into the novel and clumsily yanks out
bits of plot and dialogue and re-assembles them, along with a hodgepodge of completely foreign
parts, to create a new, disquietingly familiar, but still very different creature and endow it with
life - a little like Frankenstein himself. (now that is a little harsh on film makers!) No wonder,
then, if film is sometimes viewed as worse than a live-action “Coles Notes” version of its
associated novel by some educators, fit only to be granted, perhaps begrudgingly, as a
concession and reward to students after they have finally succeeded in plowing resentfully
through their assigned novel.
For better or worse, this attitude is no longer tenable. Students live in a highly visual
environment: they are immersed in film, internet and television culture in which they are
constantly encountering visual media that is designed to manipulate their responses. Far more
than was the case for their teachers when they were young(er), an enormous percentage of the
text that they view is text that they or their friends have composed for the purposes of
communication. Rather than bemoan this reality, educators need to tailor their teaching
approaches to it and take advantage of it. This lesson plan is an attempt at such an approach.
In determining the shape and content of this plan, I held to a few primary considerations.
Students are more likely to be engaged when the material of study is approximate in form and
content to what they are familiar with, comfortable with, interested in, and able to comprehend
(keeping in mind the Vygotskyian principle that the difficulty of the task before them should be
at the upper end of their zone of proximal development). Consequently, we begin our unit on
using film to complement a novel study of Mary Shelley’s Frankenstein with an investigation
into what they know and have encountered about Frankenstein, and work from there,
encouraging students to look at the culture in which they are immersed and discern what echoes
are still reverberating from that “ancient” book. Happily, the monster is still making a lot of
noise, so we can work with that.
Another primary consideration is that people learn by doing and experiencing. As a
consequence of this, I do my best, when introducing them to key topics and components of film
criticism, to avoid situating them as passive consumers of knowledge, and instead invite them to
take film apart, in a sense, to muck around with its various components to see what happens, and
then reassemble it in new ways of their own original designing. The aim here is that this will
help them to internalize the theoretical and technical information and to underline the point that
any cultural text is the unique consequence of innumerable carefully considered decisions that
greatly influence its meaning and the way that we respond. By getting them to experience the
sort of unique problems posed by the film-making process and to devise and articulate, verbally
and in writing, their own ways of solving them, they will also be developing their reading,
writing and speaking skills in ways that are easily assessable.
Scaffolding, as always, was another major consideration. This unit, I am aware, contains
a lot of terms and concepts with which the majority of the students will be unacquainted. I have
therefore given a great deal of thought to the order in which the various components should be
introduced. I think it has been arranged in such a way as to best prepare students with the critical
skills and vocabulary needed to succeed at each activity and assignment, so that they proceed by
increments to a stage of development at the end that allows them to execute a task that would
have been, in most cases, far beyond their abilities at the beginning of the unit. Furthermore,
while the assignments and activities increase in complexity as we go, and provide enormous
opportunities for demonstrating a sophisticated critical approach to literature and film, they also,
I think, provide ample opportunities to allow for differentiation. Students who have less facility
with higher-order critical approaches to film should still find in the assignments an exciting
opportunity to express themselves creatively and personally, and I am confident that these
opportunities will engage them and prompt them to produce written or presented work of higher
quality than they otherwise might.
That using film in a classroom (especially a classroom with readers of varied levels of
literacy) provides a much greater opportunity to look at several texts with a longer narrative arc
than short fiction or poetry brings with it several unique advantages that I was careful to exploit.
Students get an opportunity to look at and study several more instances of plot structure, for
instance, and thereby improve their ability to recognize common plot points and overall narrative
arc, which in turn improves their critical appreciation of story-telling in any medium. Moreover,
the enormous overlap of other devices, conventions, and concerns between film and written
fiction (character, mood, genre, pacing, theme, etc.) make an extended unit with a focus on film
extremely relevant to the task of improving critical literacy skills - and in terms of basic literacy,
of course, it provides a way into the text that otherwise might be absent for some students. As a
consequence of this enormous overlap, it is quite simple (as I hope the unit plan will
demonstrate), and in fact inevitable, to address all of the APEF outcomes with a close, critical
look at film.
Anticipating some possible objections, I would also like to defend my decision to attend
so closely to technical aspects of the film making process. To view a film with no appreciation
for the unique technical challenges and opportunities that are associated with its production is to
view it without full film literacy, and with a critical lack of fundament and essential vocabulary
with which to think about and discuss it. Just as within the context of written communication you
need to sit down with them at some point and point out the verbs, adjectives, and the various
literary devices and then assess their understanding, so too does someone need to point out in
some detail the components of film grammar - and then assess their understanding. Happily, this
can be a lot more fun and engaging with film grammar than with regular grammar. [Oh, now, I
believe that grammar can be very engaging!] The “Prepare a Shooting Script” and “Get Your
Freak On… Film” components especially each consist of a hugely important bit of assessment (if
they don’t get it, they are to revise it until they do).
In this visually saturated culture, it is our responsibility as educators to develop their
ability to think critically about the means by which film and other visual media (such as music
videos, advertising, political campaigning, etc.) manipulate their responses. Specifically, since
English Language Arts is, at its most basic, the study of how humans communicate with each
other, it is the responsibility of the ELA teacher to teach this vocabulary and develop these
critical skills. In my zeal to cover this essential and almost always neglected territory, I have,
perhaps, overstepped the prescribed bounds of this unit. I felt it necessary, however, to
streamline the study of these technical elements of film into the more strictly literary approach to
film that I was assigned for two reasons. On one hand, I simply wanted
technical/design/production aspects contained for the sake of consistency and comprehensivity {?} comprehensibility {?) to investigate how one might teach it from beginning to end, without
having to refer to a separate plan for teaching the technical aspects. On the other hand, one
cannot really divide the technical aspect from a literary approach to film analysis.
A note also on the role of the actual novel in the context of this unit plan: in brief, it will
play a much larger role in the actual execution of the plan than is suggested by this outline.
Space, time, and the focus on how film can contribute to the ELA classroom prohibited full
discussion of the proper role of the novel.
Finally, since I wanted to experiment with using a wiki in the ELA classroom to see
firsthand its advantages and discover in advance any difficulties attending its use, I registered a
wiki and tried it out to see how it might be used as an assessment tool for me, a resource for the
students, and generally as a way of coordinating the unit plan. As wikis were not my topic, I will
not discuss them at length other than to say that I found it extremely useful and convenient to
the point of indispensability in the context of teaching film. This, I hope, will be demonstrated if
you decide to follow the links to it that are peppered throughout the unit plan (hold the “ctrl”
button down while you click on the blue link and your browser will direct you). It’s not as pretty,
complete or as organized as it would be if I were preparing it for classroom use, but its virtues
are, I think, in evidence. It is here: http://mrboydselaclass.wikispaces.com/
Note: Regarding materials, get a zip.ca account. This is the best and most inexpensive
means of finding the most obscure films available in Canada. Other than that, YouTube is your
friend, especially regarding older films which are no longer copyright protected.
WEEK ONE
LESSON I: Wherein We Meet Dr. Frankenstein and His Monster
Monday, Oct. 31 (One or two days)
Purpose: This lesson, being introductory, is primarily intended to get them thinking about what
they know of the Frankenstein story through whatever popular media and other sources they
have encountered it. I will focus their thinking on adaptation and interpretation, which will be a
major theme in this unit. Finally, they will be directed to think closely about character, and this
will be reinforced through the assignment of the “Character Dossier” activity.
Outcomes: Through class conversation, students will be expected to: (1) speak and listen to
explore, extend, clarify, and reflect on their thoughts, ideas, feelings, and experiences;(2)
communicate information and ideas effectively and clearly, and to respond personally and
critically, and; (3) to interact with sensitivity and respect, considering the situation, audience,
and purpose.
Objectives: Students should speak persuasively in class discussion, supporting their ideas with
evidence, organizing details in a logical order, and staying focused on the purpose. Also, they
should record and organize information from multiple print, non-print, and online sources on a
topic.
Texts/Materials: Mary Shelley’s Frankenstein (novel), trailers of Frankenstein parodies
(video, on the wiki).
Procedure:
-As a way of activating prior knowledge, we begin by discussing Frankenstein and what we
know about the story and characters.
-“What do you know about Frankenstein? Let’s record all of this.”
-Record it so they can see it: type it/write it on the Smart board/blackboard. The list will
probably including something like the following:
Monster
Karloff
Halloween, etc.,
-Compile some references to Frankenstein from what pop culture they have encountered. Share
a couple of youtubed trailers of some funny parodies. NB: define “parody”: learning the
differences between various genres will be a major outcome for this unit. These trailers will be
posted on the wiki for easy reference and access:
(http://mrboydselaclass.wikispaces.com/Parodies).
-As homework, instruct students to post on the wiki whatever pop-culture Frankenstein artifacts
they can find (these can be very diverse: pictures of Frankenstein toys, blogs about
Frankenstein, Frankenstein comic books, etc.).
-Give them a heads up that the book has probably only a few basic features in common with
their ideas of Frankenstein, and get them to think about adaptation and personal responses to
text as we look at various Frankenstein adaptations and allusions over the next few weeks.
-Some questions to consider when observing the differences between adaptation and the
original:
Essential Questions: [Questions that stimulate higher level thinking - How does filmmaking
differ from other mediums? Are there drawbacks to film? Benefits? How does film shape our
understanding of the human experience? [from film courses I have helped write.]
Why have the decisions that make up the movie been made?
To attempt a literal adaptation - a “faithful” one?
Because this is the interpretation of the filmmaker?
Because the filmmakers wanted to make it “better”?
Money?
Is it possible to film a “faithful” version of a book? Or does everyone have a different
experience and interpretation from everyone else?”
-Finally, they will be introduced to the “Character Dossier” activity which will span the unit.
Each student will be given an individual character from the M. Shelley novel. The details of the
Character Dossier activity are directly below.
Assessment: Assessment for this class will be informal and based on observation of class
discussion, though the homework research assignment will also provide some opportunity for
assessment. [you may think about using an exit pass to respond briefly to one question to make
sure they are with you. Also, you may think about using an informal check off, jotting down
who speaks. This can be very effective in helping you know who to call on if they are ‘silent’
for several classes.]
Homework: Find and post Frankenstein-related cultural artifacts on the wiki. Read beginning
of book.
Activity:
“Character Dossier”
Purpose:


A way to build a personal commitment in each student which helps them to read with
interest and attentively and to engage their critical thinking skills.
(Wiki component) To learn to contribute to a wiki article and debate research points in
this medium with collaborators.
Outcomes: Students will be expected to: (4) select, read, and view with understanding a range of
literature, information, media, and visual texts; (5) interpret, select, and combine information,
using a variety of strategies, resources, and technologies; (7) respond critically to a range of
texts, applying their understanding of language, form, and genre; (8) use writing and other
forms of representation to explore, clarify, and reflect on their thoughts, feelings, experiences,
and learnings; and to use their imaginations; (9) create texts collaboratively and independently,
using a variety of forms for a range of audiences and purposes; (10) use a range of strategies to
develop effective writing and other ways of representing, and to enhance clarity, precision, and
effectiveness.
Objectives: Students will be expected to: support their responses with references from the text;
write to respond to interpretive questions about fiction; demonstrate their comprehension of
technical terms of film through an original imaginative work.
Procedure:
1) Assign each student in the class a character in the novel. [ of course, you will need to do
some modeling here . Will you allow students to assume a character’s point of view?
This might be another way to diiferentaite, and some students generally enjoy it!]
2) Require each student to create a series of journal entries about [or as?] her/his character
including textual support that they encounter as we read through the novel. To aid
students with the journal and wiki entry, provide students with a list of questions that
might help guide them in writing. E.g.:
 What are the most striking aspects of the character’s physical appearance?
 What are his/her most distinguishing habits or mannerisms?
 How does the character interact with other characters in the novel?
 To what extent is this character static or dynamic over the course of his/her
appearance in the novel?
 In what ways does your character influence the chain of events in the novel?
 In what way was is he/she affected by these events?
3) During their encounters with various film adaptations, they are to consider the
differences and similarities between their textually-based profile and the adapted
character.
 How does the actor playing the role match the description in the novel?
 In your opinion, how well do the actors suit the characters?
 How does the actor capture the specific habits and mannerisms you used to
define the character as you read the novel?
 To what extent is the character’s role expanded, reduced, or totally eliminated in
the film? What seem to be the reasons why these changes were made in your
character?
 Which character differed most dramatically from the way you imagined her or
him in the original work? Why do you think that character was changed in the
movie version? Do you like or dislike the change? Explain.
4) There will also be Character Dossiers for each character on the wiki, here, and they are
expected to contribute collaboratively to a few of these as well. The wiki article should
be reserved to description, and their justifications should be found in footnotes, and,
where appropriate, e.g., where there is disagreement among contributors, in the
“discussion” tab.
5) By the end of the unit, they are to have executed and submitted some revisions to their
character’s role in the 1994 Frankenstein film screenplay, along with a written rationale
for the changes. They can make whatever changes they want, so long as their rationale is
demonstrated by these changes (e.g., they may want to make their character more
faithful to their interpretation of the novel, or they may want to make their character
simply more interesting).
Assessment: There are several assessment opportunities with this unit-long assignment. The
journal entries will be regularly reviewed, as will their wiki contributions. The final script
revision of their character will be a major indicator of their achievement of stated objectives.
You need to develop a rubric that shows how you will evaluate this assignment. This rubric
should be distributed to the students when you give the assignment (Transparency)
LESSON II: Did You Hear That? Sound in Film
Later the same week…(One or two days)
Purpose: This lesson will introduce students to attending closely to technical aspects of film, and
to think critically about how sound in film influences their responses.
Outcomes: Students will be expected to: (1) speak and listen to explore, extend, clarify, and
reflect on their thoughts, ideas, feelings, and experiences; (2) communicate information and
ideas effectively and clearly, and to respond personally and critically; (3) interact with sensitivity
and respect, considering the situation, audience, and purpose.
Objectives: Students will be expected to demonstrate their ability to analyze the effectiveness of
sound elements in film through discussion. Are you going to have each student demonstrate this in
some way? See assessment HOW?
Texts/Materials: Metropolis (various videos and YouTube clips on wiki); Blazing Saddles clip
{“I don’t need no stinking badges.”. - my favorite line!) (YouTube link on wiki); cellophane, ¼
audiotape, and liquid hand soap.
Procedure:
-Discuss elements of film production.
-Discussion: what are movies made of? What are they composed of? (Not what was required to
make them, but what is delivered to us, the viewer?) Lead them to the most basic answer: light
and sound. These are the essential components of film, and we’re going to start with sound.
-Review what is involved with sound.
-Important preliminary distinctions:
-The “soundtrack” of a film is often confused with its “score”. The soundtrack consists of all the
sounds in the film, while the score is only the music.
-Terms to be introduced: diegetic and extra-diegetic sound. Diegetic sounds are those that occur
within the “world” of the characters, while extra-diegetic sounds are not heard by the characters,
but only by the audience (e.g., the film score). If a character turns on a radio, the music is
diegetic, because it is occurring in the character’s world and can be heard by the character, but
the score, which is not heard by the characters, is extra-diegetic.
-As an amusing illustration of the distinction, play the following clip from Blazing Saddles, in
which a cowboy rides through the desert accompanied by an apparently extra-diegetic score,
only to come across Count Bassie and his orchestra performing the music in the middle of the
desert, after which they high-five each other:
http://www.youtube.com/watch?v=N2xYaL_Mheg
-Discuss the impact of music on the viewers’ experience of the film: its impact on the tone and
atmosphere of the film. Demonstrate by screening a clip from Fritz Lang’s silent masterpiece
Metropolis with various different scores. The film is available not only with an early orchestral
score, but also with scores composed for the film and performed by British rock band Queen, and
a newer one by avant-garde Australian band the New Pollutants (on the wiki here).
-In addition to these various scores written expressly for the film, there are also lots of fan-made
mash-ups which pair the film with existing recorded music not made for the film (e.g., by
composer Alexander Scriabin’s “Mysterion”; and another by rock band Pink Floyd, etc.) that can
be viewed and compared.
-Discuss the effect that the different musical accompaniment has on the viewing experience. Did
the scene seem more intense with one score than with the others? Explain Why? Etc.
-Discuss other components of sound in film: e.g., background noise, sound effects, voice-overs,
etc.
-View a clip of a Frankenstein (1994) that is rich in sounds, then play it without sound. Ask what
is missing - compile list of their answers, leading them to anything they missed.
-Discuss and model ways that sound effects can be made using everyday materials, e.g., (from a
website on the art of foley: http://www.marblehead.net/foley/specifics.html ):
* Corn Starch in a leather pouch makes the sound of snow crunch
* A pair of gloves sounds like bird wing flaps
* An arrow or thin stick makes a great whoosh!
* An old chair makes a controllable creaking sound
* A heavy staple gun and a other metal parts make can make a good gun sound
* 1/4" audio tape when balled up sounds like grass or flowers being walked on
* 'Flubber' (they sell it in toy stores) is great for wet squishy sounds; so is liquid hand soap.
* Frozen romaine lettuce makes a great bone or head squishy noise
* Coconuts shells cut in half and stuffed with padding makes great sounding horse feet.
* Cellophane can make the sound of crackling fire.
* A heavy rolled and taped up telephone book makes a good 'body punching' surface.
-Point out that much or even most sound they hear in a film, from background noise to dialogue,
is typically recorded after the scenes are filmed. This is to get more “accurate” or effective
sounds (the acoustics of the set or the materials the props are made of often prohibit this during
filming), or simply to get better line readings.
Assign the “Lost Soundtrack” exercise (outlined directly below).
Assessment: Assessment during this class will be informal observation of participation. How
will you know that they can meet the objective listed above and are ready to do the activity?
Activity
“The Lost Soundtrack”
Purpose:
 Get students engaged by allowing them to participate in an important component of film
production/design.
 Prompt them to attend closely to the means by which sound in film is produced, and how
it contributes significantly to the personal and critical responses of the viewer.
 Collaborate and share ideas and strategies to solve unique demands and problems.
Outcomes: Students will be expected to: (1) speak and listen to explore, extend, clarify, and
reflect on their thoughts, and ideas; (2) communicate information and ideas effectively and
clearly, and to respond personally and critically; (3) interact with sensitivity and respect,
considering the situation, audience, and purpose; (4) view with understanding a range of
literature, information, media, and visual texts; (5) interpret, select, and combine information,
using a variety of strategies, resources, and technologies; (8) use writing and other forms of
representation to explore, clarify, and reflect on their thoughts, feelings, experiences, and
learnings; and to use their imaginations; (9) create texts collaboratively and independently, using
a variety of forms; (10) use a range of strategies to develop effective writing and other ways of
representing, and to enhance clarity, precision, and effectiveness.
Objectives: Students will: demonstrate their understanding of sound techniques by producing
original sound artifacts appropriate to a film; demonstrate their understanding of the effect of
sound (especially music) on the tone and atmosphere of a film; speak persuasively in a group
oral presentation, supporting their ideas with evidence, organizing details in a logical order, and
staying focused on the purpose. Are you assigning groups? I may have missed this in your
narrative
Procedure: Students are to provide the soundtrack for a film clip. They are to be provided
maximum freedom in choosing what clip they would like to do: e.g., if their group ? happens to
be musical, they could produce simply a score for a silent film (Metropolis or some other film);
or they could collaborate to provide dialogue, sound effects, and perhaps music for a film (they
are welcome to use music recorded by someone else as one of many components in this case).
They are also free to decide whether they want to use recording software to record it in advance
(there are several excellent free multitrack recording programs available, e.g., Audacity), or
whether they want to perform their soundtrack live. In either case they will present their
replacement soundtrack in class (this should be modeled for them live, so that they can see how
much fun a live performance can be). Their performances will be compared to the original, and
we will discuss in class the effect of the new soundtrack in altering our viewing experience and,
perhaps, our interpretation of the film clip. Groups should be prepared to give a rationale for
their choices. They will be given class time to prepare, and the performance will be at least a
couple of days after the groups are assigned.
Assessment: The effectiveness of their sound presentation and their rationale for their choices
will form the basis of assessment. YES it will and you need a rubric that you can give students
so they have a sense of how they will evaluate themselves and others.
Remainder of the week: There will, of course, be regular discussion of the Frankenstein
novel, and class time reserved for them to read. There will also be time set aside for discussion
groups where students can discuss various components of the film and novel study so far.
Journal Question: We have discussed in class ways in which film can use sound to alter the
responses of the viewer. Novels do not have this option. Can novels manipulate the readers’
responses in ways that films cannot? Give an example from the text. Good entry idea
WEEK TWO
LESSON III: The Art of the Screenplay
Monday, Nov. 7
Purpose: To learn to read a screenplay. We will be learning not only the form, but also some
technical terms which we’ll be introduced to for the first time. We will consider plot structure,
and use our reading of the script to help us to identify it. It refers to script?
Outcomes: Students will be expected to: (4) select, read, and view with understanding a range
of literature, information, media, and visual texts; (5) interpret, select, and combine information,
using a variety of strategies, resources, and technologies; (7) respond critically to a range of
texts, applying their understanding of language, form, and genre;
Objectives: Students will be expected to: analyze plot elements and subplots in film; record and
organize information from a text document for purposes of plot analysis; use note-taking,
outlining, reporting, and research skills while completing assignments.
Texts/Materials: Frankenstein (1994) screenplay (available on the wiki)
Procedure:
-Discuss plotting - often very regimented in Hollywood scripts. The following diagram provides
a useful interpretation of the structure of a typical Hollywood script (stress that this is not
written in stone, but intended as a guide to help them detect the structure of a film plot):
NB: This diagram can be displayed on the SMART board by accessing it on the wiki at the
bottom of this page: http://mrboydselaclass.wikispaces.com/Frankenstein
-Discuss screenplay conventions (e.g., dialogue is indented, the meaning of certain abbreviations
and jargon, e.g., “INT” means “interior”, etc.).
-In anticipation of the “Producer Writes a Memo” assignment, mention should be made of the
typical procedure for screenplay development: i.e., studio or director gets a script, demands
changes, and more changes are demanded as more people sign on to the project. Often a “script
doctor,” is brought in from outside to fix perceived problems with the script if the original
writer(s) can’t or won’t do so. Note the three names credited for writing the 1994 Frankenstein
script (at the top of the document, in addition to M. Shelley).
-We will dive into the screenplay for the 1994 Frankenstein (there’s link to it on the wiki here:
http://mrboydselaclass.wikispaces.com/file/view/FRANKENSTEIN.doc),
noting unfamiliar terms and abbreviations, etc., as we go, so that we can include these helpfully
on the wiki for future reference. We will share the reading.
-Tasks - see if they can identify the separate acts, have them note plot points, and jot down any
notes they like (they can either write it in the script or in their notebook, taking care to note page
number for future reference). They will be expected to hand in a brief analysis of the plot
structure of the screenplay, which identifies when the various components outlined in the
diagram above occur in the screenplay. They will have a week or so to complete this.
-Introduce the “Producer Writes a Memo” assignment (directly below).
Assessment: Opportunities for assessment will be provided by their skill at reading aloud, and
by their analysis of the plot structure. Not sure what you mean by this. Do you know that there
are checklists and other tools that ELA uses to assess oral reading?
Homework: “Producer Writes a Memo” assignment, plot analysis. Read up to about the halfway mark of the novel.
Assignment:
“The Producer Writes a Memo”
Purpose:


Get students to think and write critically about the effectiveness of written composition.
Get students to compose strong arguments in support of their opinions.
Outcomes: Students will be expected to: (7) respond critically to a range of texts, applying their
understanding of language, form, and genre; (8) use writing and other forms of representation to
explore, clarify, and reflect on their thoughts, feelings, experiences, and learnings; and to use
their imaginations; (9) create texts collaboratively and independently, using a variety of forms
for a range of audiences and purposes; (10) use a range of strategies to develop effective writing
and other ways of representing, and to enhance clarity, precision, and effectiveness.
Objectives: Students will be expected to analyze the effectiveness of literary elements such as
setting, point of view, theme, and conflict and character development support their responses
with references from the text, and to add, delete, and rearrange information in drafts to address
the purpose more directly.
Procedure: This activity consists of a couple of components. In the first, each student assumes
the role of a producer who is unhappy with some aspect of the screenplay. The task is to
compose a memo to the “script doctor,” outlining what exactly is wrong with the script,
providing a brief but persuasive rationale as to why it needs to be changed, and giving some
suggestion as to how it is to be fixed. For example, he/she might identify some dialogue or
action which is inconsistent with a character, or identify a scene that is flat or ineffective and
needs to be reconstructed. Students should be advised that their instructions should be neither
too easy nor too arduous to carry out.
These memos will be submitted to the teacher for evaluation, and will be returned to their
authors the following day if they need to be adjusted for whatever reasons. Once all the memos
are appropriately done, they will be redistributed for the “Script Doctor” activity below.
Assessment: The memo they produce will provide sufficient opportunity for assessment. And of
course, it will have a rubric that will be given before they begin to write so they are aware of the
criteria upon which they will be evaluated.
Assignment:
“Script Doctor”
Purpose:


Get students to find creative solutions to textual problems.
Get students to carry out precise written instructions accurately.
Outcomes: Students will be expected to: (8) use writing and other forms of representation to
explore, clarify, and reflect on their thoughts, feelings, experiences, and learnings; and to use
their imaginations; (9) create texts collaboratively and independently, using a variety of forms
for a range of audiences and purposes; (10) use a range of strategies to develop effective writing
and other ways of representing, and to enhance clarity, precision, and effectiveness.
Objectives: Students will be expected to demonstrate an ability to carry out written instructions
appropriately by using their imagination and critical skills to solve a unique textual problem
through revision of a film script.
Procedure: Each student will be given one of the “producer’s memos” that their peers
composed in the previous activity. They will carry out the instructions as effectively as possible
in their role as script doctor. Some care should be taken in the distribution of these notes,
differentiating according to the various abilities and talents of the individual students to whom
they will be given. They will submit these revisions for the following class, and the teacher will
determine whether the instructions have been carried out satisfactorily, or whether they need
more revision
Assessment: The revision they produce will provide sufficient opportunity for assessment.
Remainder of the week: There will be regular discussion of the novel that will tie in with the
weekly theme of plot structure. There will be discussion groups that will discuss this topic.
We will watch some of Frankenstein (1994), keeping in mind the script that we read.
Discussion/journal topic: What’s changed from the novel? What’s kept? What’s changed from
the draft of the screenplay that we read and the final film? Why do you think these changes were
made? Do you think these changes improved or diminished the film? Why?
WEEK THREE
LESSON IV: Seeing the Light: The Arts of Cinematography & Film Editing
Monday, Nov. 14 (Two or more classes)
Purpose: Introduce students to the art of cinematography and associated terms and concepts to
aid them in film analysis and criticism.
Outcomes: Students will be expected to: (4) select, read, and view with understanding a range
of literature, information, media, and visual texts; (7) respond critically to a range of texts,
applying their understanding of language, form, and genre.
Objectives: Show evidence of comprehension of new terms and concepts by contributing to a
list of key terms and definitions.
Texts/Materials: Visions of Light (film documentary) Trailer on wiki here:
http://mrboydselaclass.wikispaces.com/Cinematography
Procedure:
-Introduce cinematography:
-“In week one, we looked very closely at one of the two basic components of film: sound. This
week, we will look at the other one: light.”
-“Of what is this visual component of film composed? Bits of film (or code in digital media) cut,
or edited, together.”
-“So there are (at least) two major components of the visual component of film: what the camera
records, and how this recorded information is put together sequentially to tell the story.”
-“Today we will look at the recording, or filming, component. This is called cinematography.”
-“Cinematography, can be broken down into components: the angle of the camera, the
movement of the camera (if any) during a shot, the type of lens used on the camera for a given
shot, and the lighting. By the end of this week, you will be able to talk about these elements of
cinematography with more sophistication and knowledge than the authors of most film reviews
you read.”
-Screen “Visions of Light”, an excellent documentary on the art of cinematography, instructing
them to write down any new terms or insights as they watch, so that these can be posted on the
wiki (see possible resultant contributions to the wiki here:
http://mrboydselaclass.wikispaces.com/Technical+Terms
-Discuss film editing. Points:
-Film editing is the only art that originated with film making. All of the other components
(acting, photography, music, sound effects, lighting, writing, set design, etc.) predate the art of
film.
-Through reading the screenplay to Frankenstein and viewing “Visions of Light,” they have
already some awareness of editing and some technical vocabulary. Provide a list of whatever
essential terms they have not yet encountered, and explain them, describing, or screening,
examples of each.
-This knowledge will be reinforced and internalized through the “Call the Shots” activity to be
done in class together (directly below).
-This activity should prepare them for the “Prepare a Shooting Script (Ex Post Facto)” assignment
(below the “Call the Shots” activity), that will be explained and assigned to them at the end of class.
Assessment: By posting on the wiki, students will demonstrate how closely they have attended
to the new information.
Homework: Post new unfamiliar technical terms (with or without definitions) from Visions of
Light on the wiki page dedicated for this purpose (or provide definitions for those entries with
the term but no definition). Begin second half of novel.
In-Class Activity:
“Call The Shots”
Purpose: To give students practice in identifying the meaning of the terms we have so far
learned, so they may internalize them and be better prepared for the “Prepare a Shooting Script”
assignment.
Outcomes: Students will be expected to: (4) view with understanding a range of literature,
information, media, and visual texts.
Objectives: Students will be expected to demonstrate their comprehension of terms we have
learned by using them verbally to identify what they represent as they see it.
Texts/Materials: Frankenstein (1994); various music videos, and commercial advertising.
Procedure: Each student is assigned a few technical terms - some may refer to film editing,
some may refer cinematography (angles, or types of shot, etc., e.g., “Establishing Shot” or “High
Angle”, etc.) We will view some visual media, such as a movie (and perhaps some commercials,
political campaign TV spots, and/or music videos) and, as the students recognize the terms
assigned to them, they will call them out. Each term will be given to several students, so that if
one missed an instance of it, another should shout it out. Care should be taken so that each term
given to a student who is expected to have some difficulty with the assignment will be given to a
student who can be expected to do well on it (that way the students will be teaching each other
as they participate). Also, each student should be given a good variety of terms so that they have
enough opportunity to shout out their terms as they occur to not lose interest, but not so many
terms that they can’t keep them each in mind as they view. A list of terms is on the wiki here:
http://mrboydselaclass.wikispaces.com/Technical+Terms
Assessment: Their participation will provide obvious opportunities for assessment. Will you be
video taping them to see who calls out and who doesn’t?
Assignment:
“Prepare a Shooting Script (Ex Post Facto)”
Purpose: Students, by transcribing a bit of film to screenplay format, will be forced to attend
very closely to the visual and auditory information, and thereby learn to be alert to textual cues
to interpret a film.
Outcomes: Students will be expected to: (4) select, read, and view with understanding a range
of literature, information, media, and visual texts; (7) respond critically to a range of texts,
applying their understanding of language, form, and genre; (8) use writing and other forms of
representation to explore, clarify, and reflect on their thoughts, feelings, experiences, and
learnings; and to use their imaginations.
Objectives: Students will be expected to demonstrate their understanding of key terms learned
so far by using them to transcribe a screenplay and to describe the visual and auditory
information to which they refer. They will demonstrate their ability to use these skills to assist
them in literary interpretation and analysis
Texts/Materials: Frankenstein (1931) (video available on the wiki)
Procedure: Students will be assigned an excerpt of the 1930 Frankenstein (all of which is
available on the wiki here) of about 5 minutes (ideally, the class might together succeed in
tackling the whole film, but depending on class size and abilities, this may not be feasible:
assign less than 5 minutes if appropriate), and be required to write the screenplay as it might
have existed for that excerpt. They must use all of the screenplay conventions and technical
terms that we have covered so far in provided as extensive an account of what is on screen as
possible. These must be posted on the wiki page dedicated to this purpose, and each contribution
should be headed by the excerpt marker assigned to them so that everyone knows where to paste
their excerpt as the page fills up (e.g.: (Pt. 2, 4:41-8:03)). An exemplar is on the wiki page here:
http://mrboydselaclass.wikispaces.com/Our+Screenplay+of+1931+Frankenstein
- Additionally, they will be required to respond in their journal to the following question: What
insights into this film or the scene(s) you looked at have you gained by so closely attending to
the various details of the production, to the “film grammar”? In considering this question, it may
help to consider the more surprising decisions of the film-makers and wonder why these
decisions were made. For example, when I was composing the exemplar on the wiki (Pt. 3, 0:001:55), I noticed that a very high angle was used to photograph Dr. Frankenstein and Dr.
Waldman as they stood at the apparatus that would later be used to bring the monster to life.
This high angle, looking down on the actors, had the effect of making characters seem much
smaller, and less significant, than the enormous, elaborate apparatus itself, which extends
upwards beyond the top of the frame. This seemed to be very effective in lending the apparatus a
sense of great significance and foreboding in anticipation of the experiment to come.
Additionally, the way that the actors are arranged at about the 1:00 point seemed extremely
awkward, with Dr. Waldman seated in such a way that he has to twist around and look up at Dr.
Frankenstein. This struck me as an effective way of visually conveying the point that
Frankenstein has become superior in some sense to his former teacher: he has, in fact, “dwarfed”
him.
Assessment: Assessment opportunities will be provided by both the script transcript component
and the journal entry. I think I have said rubrics often enough for you to realize that students
need scoring tools to self- evaluate.
Remainder of the week: Possible topic for journals and/or discussion groups: We learned this
week that film editing was the only art that had its origin in film. In novels, though, we have
transitions between scenes as well. Are there any in the novel we are reading that seem
especially effective or ineffective? Do some scenes go on too long or not long enough? In what
ways might you “re-cut” the novel? Why?
WEEK FOUR (& MAYBE FIVE)
LESSON V: Freaks in Film from the Silent Era to Today
Monday, Nov. 14 (Two or more days)
Purpose: To demonstrate to students how film has developed as a story-telling form; by what
means film-makers succeed in conveying tone and atmosphere appropriate to the story; how
story-tellers learn and borrow techniques from their predecessors; how similar themes can play
out within the context of diverse settings and plots.
Outcomes: Students will be expected to: (4) select, read, and view with understanding a range
of literature, information, media, and visual texts; (6) respond personally to a range of texts.
(7) respond critically to a range of texts, applying their understanding of language, form, and
genre.
Objectives: Students will demonstrate their ability to analyze the effectiveness of literary
elements such as setting, point of view, theme, and conflict and character development. Identify
mood and explain how the mood contributes to the overall effect of the selection.
Texts/Materials: Der Golem, Metropolis and The Cabinet of Dr. Caligari (all films with video
links on the wiki:
http://mrboydselaclass.wikispaces.com/Videos
Procedure:
-Discuss historical context of, and predominant influence on, Whale adaptations of
Frankenstein: German Expressionism.
-In preparation for filming Frankenstein, James Whale watched a number of films from the
German Expressionism movement, e.g., Der Golem, Metropolis and The Cabinet of Dr.
Caligari. This last one in particular was an enormous influence on the look and atmosphere of
Frankenstein, and Whale is reported to have watched it repeatedly before and during the
Frankenstein shoot.
-Direct students to consider the tone and atmosphere of these films. As they are watching, they
should be paying critical attention to what devices (literary and filmic) contribute to establishing
the tone and atmosphere of each film.
-Students should also be directed to consider how these films visually resemble the Frankenstein
films of the ‘30s, and how they are thematically similar to the Frankenstein story.
-Screen clip(s) from Der Golem, an early horror film based on a Jewish legend wherein a clay
man is animated by a rabbi.
-Screen clip(s) from Metropolis, in which a mad scientist creates a robotic version of his dead
lover, so that she may live again.
-Screen clip(s) from The Cabinet of Dr. Caligari, in which a doctor controls a somnambulist
who, after kidnapping a woman, is driven from the village by a horde of irate townspeople.
-Closure: prompt discussion of those elements that the students had been asked to observe
closely (i.e., visual/thematic similarities, what strategies the film-makers used to establish
atmosphere, etc.)
Assessment: Assessment will be based on class discussion, and on their journal entry.
Homework: Read the end of the novel.
Journal Questions - answer one of the following:
Each of these three films, in addition to being visually similar to the Frankenstein films of the
‘30s, contained elements that were thematically similar to the Frankenstein story. Identify some
of these.
or
In what ways were the characters similar/different from some of the characters from
Frankenstein?
or
Did the atmosphere of these films contribute or detract from your personal response to the film?
How so?
LESSON VI: FREAKS… (CONTINUED)
Later that same week…(two or three days)
Purpose: To assist students in being able to further distinguish between genres of storytelling,
and how similar themes may play out
Outcomes: Students will be expected to: (4) select, read, and view with understanding a range
of literature, information, media, and visual texts; (6) respond personally to a range of texts.
(7) respond critically to a range of texts, applying their understanding of language, form, and
genre.
Objectives: Students will demonstrate an ability to identify mood and explain how the mood
contributes to the overall effect of the selection; they will be able to identify texts from various
media and genres that deal with similar themes and explain the way in which these different
contexts alters their responses.
Texts/Materials: Edward Scissorhands, Elephant Man (videos, links on the wiki:
http://mrboydselaclass.wikispaces.com/Videos
Procedure:
-Discuss the possibility that the Frankenstein story has had such “staying power” because of the
universality of some of its themes.
-One such theme: alienation and social ostracism.
-E.g., in the context of Frankenstein (1931), and Bride of Frankenstein, it has been suggested
(among other places, in the 1994 biographical film Gods and Monsters) that James Whale saw
the story as a metaphor through which to express his experience as an openly gay man in the
United States in the thirties, where society often viewed homosexuals as “unnatural creatures”
and treated them with disgust and hostility.
-We are going to look at some films that use elements of the Frankenstein story to convey these
themes.
-Stress that, again, they want to pay close attention to the tone of the film and determine how the
film-makers achieved it. Is the tone appropriate? Does it quickly mark the film as belonging to a
particular genre?
-Screen clip(s) of Edward Scissorhands, which depicts a man who is created by a mad scientist
who dies before he can complete him. While Edward is originally embraced by the suburban
community (which provides opportunities for social satire that are not wasted), he is eventually
deemed too different and dangerous and driven out of town by a horde of clucking middle-aged
women in pastels.
-Screen clip of The Elephant Man, in which a horribly disfigured man is chased through a train
station after accidentally knocking down a young girl. Cornered, he cries, “I am not an animal! I
am a… human… being!”
-Screen clip of The Fly, in which an brilliant, obsessed, and socially inept scientist accidentally
merges his DNA with that of a fly, and slowly transforms into a hideous monster.
-Closure: prompt discussion of the treatment in these films of social alienation, and request other
examples.
Assessment: Assessment will be based on class discussion, wiki contributions, and journal
entry.
Homework: Post on the wiki some example(s) of cultural media that mimic the Frankenstein
story in some way without being adaptations per se. What elements of the Frankenstein story are
present that prompted you to include it?
Journal question: What plot elements were similar between the films that we looked at in class
this week and Frankenstein (1931 film)? In what ways did your responses differ to similar plot
points playing out in different genres? Do you think this represented effective story telling? Why
or why not?
Remainder of the week: Discussion of novel, discussion groups. Possible topic: We have this
week looked at a number of films that are either thematically related to, or derived from
Shelley’s Frankenstein. Do the themes on which they focus seem to you to be the most
important themes in the novel? The most interesting? Why or why not? If you were to create an
original work based on a theme or themes from the novel, what might you focus on?
Final Assignment
“GET YOUR FREAK ON… FILM”
Purpose: To have students demonstrate the knowledge and critical skills that they have
developed in this unit by producing a unique creative work that requires them to put these to use.
Outcomes: Students will be expected to: (8) use writing and other forms of representation to
explore, clarify, and reflect on their thoughts, feelings, experiences, and learnings; and to use
their imaginations; (9) create texts collaboratively and independently, using a variety of forms
for a range of audiences and purposes; (10) use a range of strategies to develop effective writing
and other ways of representing, and to enhance clarity, precision, and effectiveness.
Objectives: Students will demonstrate an ability to: use literary and filmic devices and
description to elaborate and support central ideas through an original work; and employ with
effectiveness literary elements such as setting, point of view, theme, conflict and character
development.
Procedure:
There is considerable flexibility in terms of how students may carry out this assignment, but
there are two essential components:
1) The composition of an opening scene(s) of an original screenplay (using proper screenplay
conventions) inspired by or with obvious thematic connection to the Frankenstein story. This
opening scene(s) should succeed in establishing the tone and genre of the film without explicitly
stating either (i.e., it should simply describe what the film will look and sound like), and should
also establish the central character(s).
2) A brief (about three to five pages) summary of the plot of the film, containing all the major
plot elements laid out in the plot diagram provided earlier in the unit.
Instructions for students:
It is important to keep in mind while composing these texts that the opening scene should be
consistent with the tone and genre that is suggested by the summary (i.e., if the opening scene
plays as straight horror and the summary suggests a comedy, there is a problem).
Also important to keep in mind is that this need not be a close adaptation of Frankenstein
(indeed, it would be preferable if it were not), but only thematically related in the way that many
of the films we have looked at are.
This assignment is intended to demonstrate understanding of the bulk of the new terms and
concepts that we have learned relating to both technical elements of film design/production, and
literary elements (e.g., plotting, character, genre, etc.) that we have looked at over the course of
this unit. Therefore, take full advantage of your new skills and knowledge to produce a
powerfully developed interpretation of one or more of the major themes of the Frankenstein
story that resonate with you personally.
Assessment: They will be assessed based on their written submission RUBRIC
Note: For enrichment/extension, assignments could be co-ordinated with music, art or
multimedia instructors to contribute to both courses.