Unit Planning Template
YEAR 10 MEDIA STUDIES
UNIT PLAN
Subject: Media Studies
Year level: Year 10
A.S. focus: Reading Media Text(s)
Length of unit: 20 lessons Timing: Term 3; Weeks 2 – 6 (4x per week) [week 1 = introduction to Media Studies and Diagnostics]
|Title of unit: |
|Fantastical Imaginings: Tim Burton |
|Main focus of the unit: |
|Students study, and apply, media language and media texts. Students analyse texts by Tim Burton (auteur theory/Burton’s style), describing the use and effect of |
|selected production and story elements. |
| |
|Students learn the skills of close reading in order to be able to use relevant media language in responding to their own and other’s products (scaffolding into the|
|production of a Burton-inspired set in the second Unit of the two-term module). |
| |
|The Unit is seen as a formative experience for students to prepare for senior media. There are opportunities for students to work individually and in groups to |
|create work. |
| |
|The assessment criterion for the Unit is devised using standard based assessment indicators (in preparation for senior media) and range from Not Achieved through |
|to Excellence. |
Links to NZC:
| |Indicate the aspects focused on: |How addressed in this unit? |
|Principles |High Expectations ✓ |These should underpin your curriculum and should be evident in|
| |Treaty of Waitangi |your scheme of work and in your everyday practices. |
| |Cultural Diversity | |
| |Inclusion ✓ |High expectations for personal excellence established from the|
| |Learning to Learn ✓ |outset (engaging in the key competencies in order to produce |
| |Community Engagement |superior summative assessments); |
| |Coherence |Students use a wide variety of learning processes in order to |
| |Future Focus |grasp the learning outcomes; |
| | |Students engage in collaborative and group activities, |
| | |developing their skills to function intelligently and |
| | |respectfully in zones of contest or uncertainty. |
|Values |Excellence: aiming high, persevering ✓ |Exemplars, strategies and tools; |
| |Innovation: Inquiry: Curiosity ✓ |Feedback / forward; |
| |Diversity: culture/language/heritage □ |Scaffolded opportunities to achieve and improve responses; |
| |Equity: fairness & social justice □ |Independent background research into director / films; |
| |Community & participation □ |Collaborative and group work; and |
| |Ecological sustainability: Care for the environment □ |Co-constructing responses. |
| |Integrity: honesty, responsibility, accountability & acting ethically | |
| |□ | |
| |Respect: for self/others ✓ | |
|Key Competencies |Thinking ✓ |Group work – discuss / collaborative answers; |
| |Using language, symbols & texts ✓ |Self and peer assessments; |
| |Managing self ✓ |Critical analysis of visual, aural, and written (production |
| |Relating to others □ |and story) elements and reseaching, applying language and |
| |Participating and contributing ✓ |knowledge / symbols in responses; |
| | |Students think creatively about the film language and elements|
| | |to express insightful, meaningful observations; |
| | |Formative assessment, mid-point and exit card provide |
| | |opportunities for metacognitive development. Summative |
| | |assessment is completed. |
|Achievement Standard[s] addressed [if any]: |
| |
|N/A – See below Learning Objectives (Strands) |
|Learning Objectives |
|Strands |Concepts |
|Reading Media text[s] ✓ (Term 3) |Meaning and Language : ✓ |
|Media Production □ (Term 3-4) |Media and representations: □ |
|Media in Society □ (Term 4) |Organizations & institutions □ |
| |Audiences ✓ |
| |Media technologies □ |
Specific Learning Outcomes:
1] Students create resources using the digital tool ThingLink;
2] Students describe the use of selected elements of media text(s);
3] Students describe the effect/meaning of selected elements of media text(s);
4] Students use knowledge of media language and Tim Burton’s style to explore text, meaning, and context in which narrative is created and viewed.
Key resources for unit:
1] Films: Edward Swissorhands; Vincent (film and poem); Frankenweenie; clips from
Bettlejuice and Batman.
2] BYOD/Netbooks - for the purposes of this Unit, it has been (somewhat unrealistically) assumed that the school is BYOD and has Netbooks or equivalent available.
Assessment points:
|Diagnostic |Formative |Summative |
|Assessing what students can do/ what they know/prior |Opportunities for giving feed-back & feed-forward to |Opportunities to identify what they have learned. |
|leaning assessed to date/other information? |individual students and to groups on what they are | |
| |learning and what they need to learn. | |
|Wk 1, L 1: ThingLink introduction. Provides basis for|Within each lesson, students are checking their |Wk 5, L 2-4: Close reading of a sequence from Edward |
|assessing prior knowledge about Burton, his films and |understanding of messages with peers and the teacher. |Swissorhands by Tim Burton; and |
|style. |For example: |Wk 5, L 4: Exit card. |
| |Wk 1, L 3: Stations Activity (Burton’s style); | |
| |Wk 2, L 2-3: Feedback / summary of production and | |
| |story elements grids; |Note: This Unit is part of a two-term module. As part|
| |Wk 2, L 4: Stations Activity (Burton’s homage); |of the module students would also: |
| |Wk 3, L 3: Review homework which reflects upon |Build a Burton-inspired set. The assessment criterion|
| |expectations; |would involve two tasks, process logs/evaluation using|
| |Wk 3; L 4: Hot Potato activity; and |ThingLink (individual grade) and set production (group|
| |Wk 4; L 1: Character mapping. |grade); and |
| | |Complete an online journal to explore the |
| |In terms of specific opportunities for formative |representation of Pasifika and Māori in the media and |
| |assessment: |to reflect upon the impact such representations have |
| |Wk 1, L 2: Report from Space Race Game re |for the group and other New Zealanders. Through this |
| |terminology/production and story elements; |unit, students learn to understand their own |
| |Wk 3, L 1: Hand-in close reading paragraph; |relationship with the media in order to act as |
| |Wk 3, L 2: Hand-in mid-point self assessment; |‘critical, active, informed and responsible citizens’ |
| |Wk 4, L 2: Hand-in paragraph writing on Burton’s |(NZC). |
| |themes; | |
| |Wk 4, L 3: Emailed copy of mis-en-scene in ThingLink; | |
| |Wk 5, L 1: Report from Socrative quiz re Frankenweenie| |
| |close reading; and | |
| |Wk 5, L 4: Hand-in Exit Card. | |
| | | |
| |This Unit is also seen as formative learning for later| |
| |years in senior media, introducing close reading (and | |
| |across the whole two-term module, formative learning | |
| |for production and media in society). | |
Specific learning needs addressed in this unit:
|Individuals or groups with specific needs |Activities provided |
|Learning support |Diagnositics for this Unit and during the first week of the two-term module to |
| |identify and reflect upon personal learning needs. The introduction is to make |
| |sure students are aware of the Unit-journey, opportunities to ask for help and |
| |chances to get feedback. Teacher to reflect at these formative points on |
| |individual student’s success, what can change to make a safer and more supportive|
| |environment for their learning needs. Some specific examples, alongside a |
| |disposition of care and commitment, include: |
| |Grid formats and paragraph starters to scaffold; |
| |Digital versions of resources (where possible, made available in advance); |
| |Links to additional material provided for tricky concepts eg terminology |
| |activities to provide opportunities for autonmous learning; |
| |Summaries provided in written form on the whiteboard or compiled in digital form,|
| |eg Padlet. |
|Extension |Extension activities within the classes, such as challenging words |
| |(anthropomorphism and abstractionism). Further extension activities would also be|
| |provided for students who finish early. For example: |
| | |
| |Identify the German Expressionist qualities [in insert film], using the table |
| |below, and explain their effect. |
| | |
| |German Expressionist element |
| |Example from Vincent |
| |Explain |
| | |
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| | |
| |Select a German Expressionist painting that reminds you of Tim Burton’s films. |
| | |
| |Research the following writers/illustrators (listed below) who have influenced |
| |Burton and provided inspiration for his own art practice. |
| |Identify similarities and differences, by comparing and contrasting one of |
| |Burton’s films or art pieces to a piece from each of these writers/illustrators. |
| |Also consider why their writings and artworks seem to have captured the |
| |imagination of so many Hollywood filmmakers who have adapted their stories to the|
| |screen. |
| |Maurice Sendak |
| |Charles Addams |
| |Dr Seuss |
| |Edgar Allan Poe |
| | |
| |Consider why Van Gogh may have captured Burton’s imagination. |
| |Research the artwork of Vincent Van Gogh and consider whether you see connections|
| |between Van Gogh’s work and Burton’s visual art and his films. |
| | |
| |Specific questions about Vincent (can be adapted for other films) and would be |
| |available on class Weebly: |
| |Listen to the sound of the film. How is the atmosphere of Vincent created via the|
| |sound design? Consider the sound effects and what they convey. |
| |Focus on the look of the characters, particularly Vincent. Consider what meanings|
| |an audience takes from his construction. Consider the shapes of his face and |
| |body, his appearance and his gestures. |
| |Why do we have a narrator and not character dialogue? |
| |Vincent was originally written as a children’s story in rhyming verse like |
| |Burton’s childhood favourite writer Dr Seuss. What do you think is the |
| |everlasting endurance of Dr Seuss’s books? Discuss. Do you have a favourite Dr |
| |Seuss? Discuss. |
|EAL needs |Clear and visual Unit-journey, digitally accessible for later review; |
| |Grid formats and paragraph starters to assist recording, recalling and |
| |appropriately using media language to describe selected media text(s); |
| |Links to resources used in class and to further explanatory resources so as to |
| |asssit with later revision (under less pressured circumstances); |
| |Collaborative and kinaesthetic learning activities, eg Hot Potato, Stations and |
| |sketch your own Burtonesque scenes and characters; a d |
| |Summaries provided in written form on the whiteboard or compiled in digital form,|
| |eg Padlet. |
|Particular students targeted |N/A |
Learning activities during the unit:
|Learning activities |SLO met? |Time allocation |
|Introduction to ThingLink and prior knowledge resource |1 |Wk 1, L 1 |
|Space Race game (surface to deep re terminology) |2 |Wk 1, L 2 |
|Stations Activity (Burton’s style) |2-4 |Wk 1 , L 3 |
|Production elements and Story elements grids completed as records of films watched |2-4 |Wk 1, L 4 and Wk 2, L 1-3 |
|Stations Activity (Burton’s homage) |2-4 |Wk 2, L 4 |
|Paragraph starter table to assist close reading |2-4 |Wk 3, L 1 |
|Sound on / sound off Activity |2-3 |Wk 3, L 2 |
|Mid-point assessment |1-4 |Wk 3, L 2 |
|Word Jumble |2-4 |Wk 3, L 3 |
|Poem annotation |4 |Wk 3, L 3 |
|Freeze frame analysis in ThingLink |1-4 |Wk 3, L 3 |
|Reflecting upon expectations |4 |Wk 3, L 3 |
|Hot Potato Activity |2-4 |Wk 3, L 4 |
|Character Mapping |2-3 |Wk 4, L 1 |
|Writing a Burtonesque rap |4 |Wk 4, L 1 |
|Paragraph writing on Burton’s themes |2-4 |Wk 4, L 2 |
|Drawing a Burtonesque scene |4 |Wk 4, L 2 |
|Mis-en-scene close reading in ThingLink |1-4 |Wk 4, L 3 |
|Production elements and Story elements grids completed to record Frankenweenie features|2-4 |Wk 4, L 4 |
|Socrative quiz re Frankenweenie close reading |2-4 |Wk 5, L 1 |
|Summative assessment (close reading) |1-4 |Wk 5, L 2-4 |
|Exit card |1-4 |Wk 5, L 4 |
Milestone points when formative assessment could indicate change needed.
|Formative task |Change that might be required after this |
|Wk 1, L 2: Report from Space Race Game re terminology/production and story |Further class on terminology eg group activity indentifying production elements. |
|elements |Further resources provided online to assist. |
|Wk 3, L 1: Hand-in close reading paragraph |Revisit paragraph starter table. Alter Unit by removing Frankenweenie close |
| |reading – focus on close analysis of previously seen footage. |
|Wk 3, L 2: Hand-in mid-point assessment |Students to reflect upon what they know, don’t know, how to get help in resolving|
| |that issue – to parallel teacher’s inquiry. |
|Wk 4, L 2: Hand-in paragraph writing on Burton’s themes |Approach the paragraph starter table from a different angle, by using exemplars –|
| |amend / or use (with permission) two student exemplars. Print the paragraphs for|
| |students to read and identify the different steps taken to close read, namely |
| |identify and then describe use and effect. |
|Wk 4, L 3: Emailed copy of mis-en-scene in ThingLink |Further tutorial on use of ThingLink |
|Wk 5, L 1: Report from Socrative quiz re Frankenweenie close reading |Socrative provides real-time reporting, so group challenges could be identified |
| |from the data and addressed in the final 15-20min (question-time) of that class. |
|Wk 5, L 4: Hand-in Exit Card |Inquiry to guide on-going practice. |
Unit evaluation:
|Impact of my teaching on student | |
|learning? | |
|i.e. evidence for this? | |
|Aspects students struggled with in | |
|summative task | |
|Feedback in student evaluation, if | |
|carried out | |
|Changes to make to unit for next time | |
|I teach it. | |
PLANNING GRID [summarising lessons and marking formative assessment points]
|Week |Lesson 1 |Lesson 2 |Lesson 3 |Lesson 4 |
| |Making ThingLinks |It’s Terminology Time! |Let There Be Art and Light |Get the Popcorn Ready… |
|1 | | | | |
| |Teacher outlines the Unit (this would be a visual |Do now: revision of key steps in creating ThingLink |Do Now: draw a figure in a frame to |Have spare copies of production and story|
| |Unit-journey created using ThingLink). This journey |resources. |represent a WS, CU, ECU. |elements grids available. Teacher reminds|
| |outlines key stages of the Unit, eg terminology, films, | | |students how these grids will be useful |
| |Burton’s style, close reading strategies / opportunities to |Teacher-led PPT with images to explain production elements |Teacher to give PPT, or equivalent, |for summative assessment. |
| |practice and summative assessment format. |and story elements (refer two grids below that will be used |introduction to Burton and his style | |
| | |while viewing films and explained, with reference to |(auteur theory), using references from |Teacher to ensure appropriate light for |
| |This Unit-journey also functions as an introduction to using|summative assessment). Terminology in class and homework to |students’ ThingLink resources, stills from |students to record key information as |
| |ThingLink, to be explained and actioned in the remainder of |cover third grid below. Student activities, such as drawing|Burton’s films to be watched and visual |they watch Edward Swissorhands (1990) |
| |the class. |examples / writing in their own words, interspersed between |explanations of key stylistic links (eg |PG-13, 105min. |
| | |PPT slides. |German Expressionist art and chiaroscuro). | |
| |Beginning as an in-class activity and to be completed for | | | |
| |homework, students create a ThingLink resource, which |Remainder of class a Space Race Game in Socrative, which | | |
| |includes: |covers shot types, true or false on Burton and short answer |Student-led stations activity: Station 1 – | |
| |a platform image for their ThingLink resource of their |questions on production/story elements. (Teacher to review |students to explain at least two elements | |
| |favourite Burton film (if they haven’t seen one, the image |ThingLink resources.) |from the production/story elements grids | |
| |of one that appeals most); |Production elements |outlined in the previous class; Station 2 –| |
| |a tag with a brief biography about Tim Burton (may be from |Element |images of four Burton DVD covers for | |
| |Wiki); |Scenes |students to identify at least 3 common | |
| |a tag with a definition of ‘auteur’; |Description of element |elements; Station 3 – ‘Set the Scene’ | |
| |tag(s) with a description of at least one common element in |Similar / different to… |drawing activity (visual example below); | |
| |his films eg lighting, characters. | |Station 4 – German Expressionist artwork | |
| |The activity provides an opportunity for diagnostic / |Sound |and a still from Edward Swissorhands film | |
| |assessing prior knowledge. | |for students to describe similarities; | |
| | | |Station 5 – draw your own Burtonesque | |
| | | |character (visual example below). | |
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| | |Editing (pace and rhythm) |[pic] | |
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| | |Mise-en-scene | | |
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|1 cont. | | | | |
| | |Camera placement (shots, angles, movement) | | |
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| | |Special effects | | |
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| | |Lighting | | |
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| | |Story elements | | |
| | |Element | | |
| | |Scenes | | |
| | |Description of element | | |
| | |Similar / different to | | |
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| | |Character(s) | | |
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| | |Themes/issues | | |
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| | |Setting | | |
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| | |Structuring of time | | |
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| | |Point of view of narrative | | |
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| | |Opening and closure | | |
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| | |The table below (and PPT) would be available on the class | | |
| | |Weebly site, with links eg Brett Lamb’s | | |
| | | filmmaking/cinematography; YouTube | | |
| | |visual explanation of techniques - | | |
| | |, for students to | | |
| | |review: | | |
| | |Cinematography | | |
| | |Sound | | |
| | |Editing | | |
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| | |Camera Work | | |
| | |Light-ing | | |
| | |Diegetic | | |
| | |(of the scene) | | |
| | |Non Diegetic | | |
| | |(atmospheric) | | |
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| | |Framing | | |
| | |- WS | | |
| | |- LS | | |
| | |- MS | | |
| | |- CU | | |
| | |- ECU | | |
| | |Camera position | | |
| | |Camera angle | | |
| | |Camera movement | | |
| | |Focus | | |
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| | |HK | | |
| | |LK | | |
| | |Back | | |
| | |Side Colour | | |
| | |Music | | |
| | |Dialogue | | |
| | |Sound effects | | |
| | |Pace – how fast or slow the shots are | | |
| | |Placement – position of shots next to each other | | |
| | |Transitions between shots – Cut, Fade, Dissolve | | |
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|Week |Lesson 1 |Lesson 2 |Lesson 3 |Lesson 4 |
| |…It’s Movie Time |…It’s Movie Time |…It’s Movie Time |Burton’s Homage |
|2 | | | | |
| |Before begin watching, student to give a brief summary of |Appropriate light for students to be recording key |Appropriate light for students to be |Do Now: What do you think ‘homage’ means?|
| |where up to in the film. |information as they watch the trailer and selected parts |recording key information as they watch the|Can you think of an example of a homage |
| | |(totalling 40min) of Batman (1989) PG-13, 120min. |trailer and selected parts (totalling |in Burton’s films? |
| |Finish watching Edward Swissorhands (1990) PG-13, 105min. | |40min) of Beetlejuice (1988) PG, 92min. | |
| | |Discuss expectations / Burton’s style following viewing of | |Student-led stations activity to explore |
| | |the trailer. Last 15-20min of the class, teacher is to call|Discuss expectations / Burton’s style |examples of Burton’s homage to German |
| | |on different students to provide summaries of key production|following viewing of the trailer. Last |Expressionist film/art (linking specific |
| | |elements and story elements they noted in their grid. This |15-20min of the class, teacher is to call |examples from films viewed with general |
| | |information, supplemented by the teacher’s notes, will be |on different students to provide summaries |information outlined in Wk 1, L 3) eg |
| | |linked to the students following the class in summary form, |of key production elements and story |Station 1 - chiaroscuro lighting; |
| | |possibly using the digital tool Padlet. |elements they noted in their grid. This |lighting that employs extreme contrasts |
| | | |information, supplemented by the teacher’s |of light and dark, thus creating dramatic|
| | | |notes, will be linked to the students |shadows; Station 2 – an interest in |
| | | |following the class in summary form, |mirrors, glass, and other reflective |
| | | |possibly using the digital tool Padlet. |surfaces; Station 3 - the use of |
| | | | |anthropomorphism, which is the |
| | | |Teacher’s questions to start encouraging |attribution of a human form, human |
| | | |exploration of the similiarities in |characteristics, or human behaviour to |
| | | |Burton’s style across Edward Swissorhands, |nonhuman things (eg Edward Swissorhands);|
| | | |Batman and Bettlejuice. |Station 4 - an interest in |
| | | | |abstractionism, which is a style of art |
| | | | |that privileges abstract form over |
| | | | |representation of reality (picture of |
| | | | |German Expressionism). |
|Week |Lesson 1 |Lesson 2 |Lesson 3 |Lesson 4 |
| |Let’s Look Closer… |Let There Be Sound… |Vincent Malloy is 7 years old |Vincent and Hot Potato |
|3 | | | | |
| |Purpose of this lesson is to help students make links |Do Now: Teacher to play audio clips from films viewed and |Refer attached lesson plan for |Do Now: Guess the Burton film (with each |
| |between the production and story elements, effect(s) and the|students to guess their origin. |‘significant lesson’. |mouse-click, more of the film still is |
| |Director’s style and intention. Teacher to emphasise that | | |revealed for students to guess its origin –|
| |Director’s deliberately choose techniques in order to create|Teacher to led discussion around the importance of sound. Eg In| |extension: describe production/story |
| |meaning in the scene eg character, setting, mood, theme. |Batman, Burton faced studio pressures in terms of the sound | |element evident in scene) |
| | |design. The soundtrack had to include popular songs of the time,| | |
| |Students to use the chart below to write (and hand-in) a |alongside the dark moody orchestral score of Elfman. Burton | |Hot Potato activity: Students are divided |
| |paragraph that describes at least 2 elements and their |argued that ‘the songs bring it too much into a specific time | |into 5/6 groups. Each group begins with a |
| |effects for the selected sequence of Edward Swissorhands and|frame.’ | |piece of paper labeled with one production |
| |Batman (available on Weebly site, or equivalent). | | |element or story element to be analysed |
| | |Activity: Sound on and off during selected sequences. Discuss | |with reference to the film, Vincent. After|
| |Director |differences – production element and effect. Challenges for | |3-4min, when the teacher signals, each |
| | |narrative. Also, teacher to choose a sequence from an unseen | |group passes their piece of paper (hot |
| | |Burton film (eg Frankenweenie) and students to sit with their | |potato) clockwise. |
| |Elements |backs to the on-screen action. Volume to be turned on and | | |
| |Purpose |students are to imagine what you see via what you hear. Discuss | |The group then analyses a different |
| |What is it s/he wants us to know? What effect is created? |mood/atmosphere created by the sound, the effect of the sounds | |production or story element in Vincent and |
| | |heard and how the sound plays out a series of actions and | |CANNOT repeat an existing comment. This |
| |The Director |narrative even though imagery is not seen. Discuss how the sound| |repeats until all the groups get their |
| |uses |design creates meaning for an audience, its relationship to the | |original piece of paper back. Each group |
| |Chiaroscuro lighting |narrative structure in terms of character motivation, character | |then selects the two best comments. |
| |to show us |identification, narrative action/events and the thematic | | |
| | |considerations of the narrative. | |Depending on time these comments may be |
| | | | |read out, written on board for the class to|
| | |Students to complete a ‘mid-point’ assessment eg, I need help | |copy, or highlighted for the teacher to add|
| |The filmmaker |with, I could improve, what steps will I take to make this | |to Padlet. |
| |chooses |improvement – will I seek assistance from the teacher, research | | |
| |High Key Lighting |independently etc. | | |
| |to reinforce | | | |
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| |Tim Burton | | | |
| |selects | | | |
| |Skewed Camera angles | | | |
| |to emphasise | | | |
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| |Burton | | | |
| |manipulates | | | |
| |Camera movements | | | |
| |to illustrate | | | |
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| |takes the | | | |
| |music | | | |
| |to demonstrate | | | |
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| |employs | | | |
| |Framing | | | |
| |to represent | | | |
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| |utilises | | | |
| |Editing | | | |
| |to symbolise | | | |
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| |changes the | | | |
| |Child’s pov | | | |
| |to develop | | | |
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| |develops the | | | |
| |Warped perspective | | | |
| |to explore | | | |
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|Week |Lesson 1 |Lesson 2 |Lesson 3 |Lesson 4 |
| |Character Mapping |Themes |Practice Time | Frankenweenie |
|4 | | | | |
| |Character mapping exercise of Depp in Edward Swissorhands. |Students to write (and hand-in) a short paragraph of no more|For a clearer explanation and analysis of |Teacher to ensure appropriate light for|
| |In pairs, students are to draw a profile of the character on|than 500 words on two of the following themes (using |mise-en-scène, students are to work in groups|students to record key information as |
| |A3 and include the following information: |examples from Edward Swissorhands, Batman, Bettlejuice and |of two and to freeze-frame/screen shot a |they watch Frankenweenie (1984), PG, |
| |Character’s name; |Vincent): |scene from the short sequence of Edward |29min. |
| |Description of appearance, costume, physical and personal |The outsider |Swissorhands (made available by the teacher | |
| |attributes (sound of voice) and motivations and effect (what|The strange |on Weebly, or equivalent). |Students to complete production and |
| |that description suggests about the character); and |The feared | |story elements grids. Following which,|
| |Character’s role in overall storyline and their |The romantic |Students to use ThingLink (email teacher a |the teacher is to call on different |
| |relationships. |The dreamer |copy) to profile this shot and then discuss |students to provide summaries of key |
| | |The misfit |the mise-en-scene and its relationship to the|production elements and story elements |
| |Teacher may conduct more general character mapping on the |The quiet one |narrative. The following are to be included |they noted in their grid. Teacher-led |
| |whiteboard as exemplar before students begin eg Burton films|The one who struggles |in the tagged analysis: |discussion on whiteboard. |
| |often include characters with noticeable physicalities / | |Lighting: how are shadows and patterns | |
| |anthropomorphism / abstraction (week 2, lesson 4), outcasts | |created to represent Expressionist qualities?|Information to discuss: Burton was 25 |
| |from society, dead dogs, clowns, black and white checkered |If finish early, students to draw a Burtonesque scene, | |when he made Frankenweenie; |
| |floors morph into characters, twisted trees, |giving consideration to: |Framing: what is in the frame, what has been |Frankenweenie is a re-working of James |
| |jack-o'-lanterns, scarecrows, striped snakes, butterflies, |Lighting |left out? |Whale’s Frankenstein (1931) adaptation |
| |redheads. |Patterns |Placement of objects within the frame and why|and the sequel The Bride of |
| | |Shapes |this is so. |Frankenstein (1935). Shot in black and |
| |Referencing Burton’s homage to Dr Seuss in the short film, |Props |Setting/location: where are we? |white, Frankenweenie references not |
| |Vincent, students write a 4-8 line rap in the style of Dr |Character(s) |Characters: Where are the characters placed |only popular horror films but the |
| |Seuss about their favourite Burton character. Consideration|Setting |within the frame and why? |gothic writer Edgar Allan Poe and |
| |is to be given to the following: | | |stylistically references the cinematic |
| |Sound (production element) eg intonation, timbre, pace, | | |genre of horror in its production |
| |beats, rhythm of words selected; | | |design. |
| |Character and narrative (story elements) eg How what you say| | | |
| |and the way you say it conveys information about the | | | |
| |film/character. | | | |
| | | | | |
|Week |Lesson 1 |Lesson 2 |Lesson 3 |Lesson 4 |
| |Frankenweenie |In Summation |In Summation |In Summation |
|5 | | | | |
| |Quiz using Socrative: (film available for students to |Edward Swissorhands Summative Close Reading |Edward Swissorhands Summative Close Reading |Edward Swissorhands Summative Close |
| |re-watch, in their own time) | | |Reading |
| |Identify a theme in Frankenweenie and discuss how this theme| | | |
| |is established in the opening sequence, explored throughout | | | |
| |the narrative and then resolved in the conclusion. | | |Students to complete an exit card eg |
| |What role do the neighbours play in progressing the themes | | |did I get help/resolve the issue I |
| |and issues of the narrative? Discuss. | | |noted at the ‘Mid-point’ assessment, I |
| |Identify who the two most oppositional characters are to | | |would like to learn more about, what |
| |Sparky and Victor’s family. | | |are some ways that learning works for |
| |How is the mood of Frankenweenie conveyed? What production | | |you, what are some ways of learning |
| |elements allow the mood to be conveyed? Discuss. | | |that don’t work well for you – why, etc|
| |When Victor is trying to re-animate Sparky why is it | | | |
| |night-time and raining? What effect does this create for an | | | |
| |audience? | | | |
| | | | | |
| |Extension question: Could it be argued that Frankenweenie | | | |
| |is a positive film about loyalty and love in the face of | | | |
| |community prejudice? Discuss. | | | |
| | | | | |
| |Teacher to assist. | | | |
| | | | | |
| |Clarification of any questions for close reading test. | | | |
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