Primary source documents serve as the bedrock of all reliable social studies. They provide firsthand facts, descriptions, opinions, and accounts which illuminate the distant world of the past while allowing us to better understand the present. To many students, however, primary source documents are foreign, verbose, and tedious.
In order to reach out to these students, a history teacher’s best weapon is often adaptation, especially through the medium of film. Passionate actors, perceptive directors, witty screenwriters, and elaborate costumes bring dusty historical documents back to life through an immersive audiovisual experience.
Yet with a bit of inspection, these cinematic adaptations of history can reveal much more than secondary historical details. By analyzing these films as primary source documents themselves, audiences can gain insight into the time period in which the movies were made.
This curriculum unit considers the story of Spartacus—the celebrated hero of ancient history and the 1960 film directed by Stanley Kubrick—as both a primary and secondary source of history. How does Spartacus compare to the ancient sources recorded before the common era? And how does Spartacus reveal the political and social turmoil which afflicted the United States throughout the 1950’s and 1960’s?
Historians learn about the past in many ways. Political and legal documents, economic statistics, film and video footage of events, material items such as tools and clothing, literature, songs, movies: all of these leftovers from previous eras help historians piece together the different ways that societies change over time. This interactive textbook is designed to help students understand America in the twentieth century through examination of the media produced in that era. Such explorations into the past are called cultural history, which has been defined by the Yale University Department of History as “an effort to inhabit the minds of the people of different worlds.”
Students who are authentically engaged in reading ask questions about the text, make their own interpretations, and connect the stories they read to their own lives. Moving from written works to their film counterparts opens the original piece to different kinds of interpretations. My unit focuses on creating a space in which students read through different lenses, produce different meanings, outcomes, and understandings in order to strengthen critical thinking skills and to build an infinite capacity for meaning. By examining the underlying embedded themes and then seeing how those ideas are adapted into other media, students will be better positioned to make higher ordered inferences. What impact might a documentary, movie, or animated version have on the readers? What might students notice that they otherwise may have missed in the text version? What connections can students make between text and film versions? Adaptation, the transformation of text to film, is apropos to this unit tentatively titled Adapting Literature to Capture Authentic Understandings as it seeks to present strategies to help students use select literary devices in order to help them understand implied universal themes.
Create giant bubbles! Bubbles are fascinating. What gives them their shape? What makes them break or last? What causes the colors and patterns in the soap film, and why do they change?
a recent revision of the film text
the revised text has altered margins deemed more helpful for printing the text....
fourth Amazon revision for printing
This fluent and comprehensive field guide responds to increased interest, across the humanities, in the ways in which digital technologies can disrupt and open up new research and pedagogical avenues. It is designed to help scholars and students engage with their subjects using an audio-visual grammar, and to allow readers to efficiently gain the technical and theoretical skills necessary to create and disseminate their own trans-media projects.
The 12th grade learning experience consists of 7 mostly month-long units aligned to the Common Core State Standards, with available course material for teachers and students easily accessible online. Over the course of the year there is a steady progression in text complexity levels, sophistication of writing tasks, speaking and listening activities, and increased opportunities for independent and collaborative work. Rubrics and student models accompany many writing assignments.Throughout the 12th grade year, in addition to the Common Read texts that the whole class reads together, students each select an Independent Reading book and engage with peers in group Book Talks. Language study is embedded in every 12th grade unit as students use annotation to closely review aspects of each text. Teacher resources provide additional materials to support each unit.
Students will consider the different ways that humor can be used by a writer to criticize people, practices, and institutions that he or she thinks are in need of serious reform. Students will read satirists ranging from classical Rome to modern day to examine how wit can be used to make important points about culture.
Students research an aspect of modern life that they would like to lampoon.
Students read from satirists across history to absorb the style and forms of humor and institutions satirized.
Students write their own satire, drawing on techniques of famous satirists to criticize their targets.
These questions are a guide to stimulate thinking, discussion, and writing on the themes and ideas in the unit. For complete and thoughtful answers and for meaningful discussions, students must use evidence based on careful reading of the texts.
What is satire, and when is it too harsh?
How can humor and irony make you more persuasive?
What do you think is funny? How far would you go to satirize it?
Who gets more reaction—satirists or protestors?
Students plot the six most important events in “Once Upon a Time” and discuss what they think the author is saying about life in South Africa. Then they look at how the story made them feel and where it seemed particularly Juvenalian.Lesson PreparationRead the lesson and student content.Anticipate student difficulties and identify the differentiation options you will choose for working with your students.
This guide walks you through the basics to get started on screenwriting. It's designed around my college-level screenwriting course, with writing exercises, assignments, and a sample syllabus and course schedule.
"Focus on 'Henry V'" is a peer-reviewed, multimedia, digital Open Educational Resource co-authored and co-produced by faculty, graduate students, and undergraduates on the innovative digital publishing platform Scalar. Chapters include guides to early printed editions, sources, and performance and cinematic histories of the play, as well as teaching resources and in-depth case-studies of particular scenes. All chapters include rich multimedia and audio recordings of body text and image captions. In addition to a traditional Table of Contents, the digital book allows users to navigate the materials through multiple pathways and visualizations. In this way the book offers not only a cutting-edge, renewable OER for college and K-12 teachers but also a model for maximizing the affordances of the digital medium.
- Performing Arts
- World Cultures
- Electronic Technology
- Reading Literature
- Speaking and Listening
- Material Type:
- Case Study
- Lesson Plan
- Primary Source
- Student Guide
- Charlene Cruxent
- Daniel Yabut
- Florence March
- Hayden Benson
- Janice Valls-Russell
- Julia Koslowsky
- Mikaela LaFave
- Nathalie Vienne-Guerrin (editor)
- Nora Galland
- Philip Gilreath
- Sujata Iyengar (editor)
- Date Added:
This open set of course materials for Film Aesthetics is a downloadable version of a course created for a learning management system. Included are learning modules and a quiz bank based on introductory film concepts including the following topics: Narrative Structure and Motifs, Mise-en-Scene, Cinematography, Sound Design, Music, and Visual Effects.