YEAR2

YOU ARE DONE! SHINE ON YOU CRAZY DIAMONDS. Double check that you've met ALL OF THE **INDEPENDENT STUDY** REQUIREMENTS: Use these files to complete your coursework! **Independent Study Outlines Due!** Below is the presentation with some helpful information, including my sample outline. (there is no formal requirements for the outline, this is just to help you structure your argument). **OLDER** Congratulations on finishing your Final Portfolio and Presentation. Just one more to go! This weekend you must start your annotated bibliography! 1. Find a Journal Article from a legit website. You might want to try: [|Senses of Cinema] [|Mubi] [|Strictly Film School] [|Cinemafile Archive]
 * What's Going on THIS WEEK?**
 * [|Film Studies For Free] **

2. Find an article on the [|Cineaste Archive] then find the actual article on JSTOR.

3. Find a book from my classroom or server. You don't have to read the whole book, but should find the relevant parts.

4: Take notes, highlight, copy/paste (for reference) anything that you think will be helpful for your project. Then create 3 entries for your annotated bibliography - first list the project in MLA or ALA format (but be consistent). Write 2-3 sentence on how you will use the article or how it has shaped the direction of your upcoming paper.

**OLDER** Well, you'd better be studying for you final presentation next week! //**CURRENT:**// Get the keynote document off the server instead- it is too big for me to upload on the wiki. **Happy Chinese New Year!** I *DO* hope you have plenty of free time to enjoy the break AND that you enjoy the films that you now MUST watch for your final assessments. So... what should you be doing towards your 3 Final Assessments? **PORTFOLIO** **1. Not Finished your Portfoilo? THAT MUST BE FINISHED. This is now past due.** **• Final Film • Commentary • Trailer** **INDEPENDENT STUDY** **2.** **Haven't watched your films yet? This is now past due.** **3. Fill out at least the first two columns on this sheet OR create your own note-taking document that works better for you in organizing your ideas for your final paper.**

**PRESENTATION** **4** Watch **MOONRISE KINGDOM** **AND / OR** **5.** Watch **THE PIANO** You //should// watch both. You //may// choose to watch just one. You have a lot to do. They're both great movies though. **6.** Watch the end of **Calvary**. Who wants to kill Father James? Will he live or die? Find out //or I'm going to spoil the crap out of this when you get back.// ** 7. ** Select your film and 5 minute extract (most extracts cover more than one scene, don't forget). Fill out the form below to help you formulate

your argument

Happy Chinese New Year! Wechat to the group for questions! Others may have the same question and not even know it yet!


 * Preparing for your midterm:**

The aim of the presentation is to encourage a close textual analysis of a continuous extract, relating its features to the film as a whole and to the wider sociocultural context. Students must present a clear understanding of how meaning is constructed through the use of film language. Students may prepare and take notes into the assessment, but they should not read from a prepared document and any notes should be used for reference and guidance only. It is the teacher’s responsibility to ensure that students do not read out their presentation.
 * 1. Due Monday, December 7:**
 * Choose a five minute clip from your film (this should probably span more than one scene).
 * Write a short paragraph explaining why this clip is critical towards understanding the film as a whole (less than 200 words).
 * Watch the Clip... take notes on everything you notice
 * Watch it again without sound... take notes on everything you notice
 * Listen to it //without image**...**// take notes on everything you hear.


 * 2. Due Wednesday, December 9: Finish your presentation outline using the Keynote Hack I gave you.**


 * Use** **[[file:ibfilmsas/Presentation Checklist 2012 rev.pages|Presentation Checklist]] to make sure you have everything you need.**


 * 1. Due Monday:** Go to the TITAN PAD page

[|Titan Pad Page for IS Ideas]

and give suggestions to at least 2 other people on how they could better frame their topic ideas. Give those people (or two others) suggestions on what films you know of that could fit in their topics.


 * 2. ROUGH CUT: Due Monday or Wednesday.** Your choice. Would love to look at least at one film on Monday if possible.

1. Read: http://www.fastcocreate.com/3031012/9-short-storytelling-tips-from-a-master-of-movie-trailers. Feel free to find your own articles as well.
 * 3. NOT Due Friday - but it would be a good idea to...:**

Research: Watch trailers that fall within the genre of your film, watch trailers from ‘best trailer’ lists, and watch trailers that you remember caught your attention.

Write & Draw: In 500 words or less, describe your vision for your trailer. In addition, storyboard it. Explain your choices based on what you’ve read and watched. If it includes narration, write it out. If it doesn’t explain what we will see. The pacing of the trailer should be evident in your description. Important: You have an opportunity to explore your crew role in any way that you feel was lacking in your original film. How could you show off your skills in a deeper or different way? Additional footage? Additional sounds? A new editing technique? Illustrating the story in a different way? You should also use this opportunity to show off your understanding of other film skills.

OLDER:


 * Due Wednesday:**

Identify your TOPIC and find 4-5 films that might fit into your area of study. Use this sheet for help!:


 * Due Friday:** Presentation on Film Theory: With your partner, create 2-3 slides presenting the theory, and add your own 2-3 slides explaining what aspects of film language can be understood through the lens of your theory.


 * Due Tuesday:** Summary of article you've read on [|filmstudiesforfree.blogspot.com] - include:

Cited reference MLA or ALA. A short paragraph (about 100-200 words) that includes a short synopsis of the article, and reflections on how you can use it for your final paper. **Also:** Read [|Please Critics, Write About the Filmmaking] - and Jeremy will facilitate the conversation.


 * BONUS:** For those of you who went to see Julie Taymor speak, write **JOURNAL ENTRY 6.5** on your reflections of her talk in reference to your own films (its like the hogwarts platform of assignments).

**Due Monday:** Journal 5 - Reflections on our conversation with Emmanuel. What ideas did you come up with about your crew roles? Make sure that your preproduction film forms are also complete. Due Wednesday: Finished Storyboards (for those of you with late scripts).


 * **Marxism** || **Feminism** || **Queer Theory** || **Masculinity** || **Psychoanalysis** ||
 * Jeremy || Peter || Jade || Jason || Billy ||
 * Mulan || Madeline || Derek || Rico || Vivian ||

**Other:** Start collecting Props & Costumes, finding locations. Casting. We will be collecting these soon.

**Older Challenges**


 * Pre-Challenge: Choose a scene from your favorite film and explain what appeals to you.**
 * Pre-Challenge: What is effective about the lighting in Blade Runner?**
 * Challenge 1: Storyboard a Scene from Chungking Express.**
 * Challenge 2: Watch //Pan's Labyrinth .// Choose 5 camera angle/direction/framing/lens choices and 5 lighting choices. Create a powerpoint presentation that explains how those choices affect the mood and tone of the film.**


 * Challenge 3: HORROR TOYS: Make a film about a toy, using //film conventions// to turn it into a horror film.** The story //may// be important, but you need to convey //**tone and**// **//meaning//** through your choice of:
 * lighting
 * color
 * diffusion
 * intensity
 * camera
 * angle
 * distance
 * lens - //assigned - research & add to our online textbook on the google drive.//
 * movement -//assigned - research & add to our online textbook on the google drive.//
 * sound & editing - //at this point you will not be assessed on these elements, but should experiment with some ideas of your own.//


 * Challenge 4: Choose a film from my library (or check one with me) and create an analysis about how the director utilizes the following techniques to create meaning to** **the theme and tone of the film.**
 * **Cinematography - camera placement & camera movement.**
 * **Lighting - color, contrast, temperature, intensity, shadows.**


 * You may communicate these ideas through a short essay (300-500 words), a short film (2-4 minutes) or a keynote presentation (10-15 slides).**

Concept for **MUSIC VIDEO due.**
 * QUIZ - anything in our [|FILM GRAMMAR 'TEXTBOOK'] so far!**


 * Challenge 5: Watch The Cutting Edge and make notes on this [|TITAN PAD PAGE] about *good advice*, *techniques* or *key vocabulary*. Everyone must contribute, and you may even add to the discussion. Be sure to list your names. There is plenty to talk about! Everyone should contribute 3-5 comments.**

In class we watched "recut trailers" - // The Shining // as an uplifting family drama, and // Toy Story // as a horror film, for example.
 * Challenge 6:** **Current: Lola vs. Sammy Jenkins: FIGHT!**
 * Challenge 7: Recut Trailers:**


 * Your ** challenge is to take the film that you watched for your film analysis this week, and recut your own trailer in // the wrong genre. // Happy films could become tragedies. Horror films could be lighthearted comedies. // Transformers 2 // could be... a movie that makes sense. // Twilight // could be... something watchable.

Here are the parameters for your project:


 * It cannot be shorter than 30 Seconds.
 * It cannot be longer than 45 Seconds.


 * Pro tips: **
 * Try //**juxtaposing**// shots that don't belong together. For example, a reaction shot used for a happy scene is placed in response to something the character shouldn't be happy about.
 * Choose music early, find a song that you would //never// use in the original film, and use that to edit your work to.

Create an analysis on how the following factors reveal ** theme ** and ** tone ** in the film.
 * Challenge 8:**
 * First Film** **Analysis:** For the film that you recut a trailer for (or you can choose a new film if you prefer):
 * Lighting
 * Cinematography
 * Editing
 * You may also speak to the direction, but as we have not covered this in any direct way in class yet, it is not yet assessed.
 * You must **attempt** to explain how sound creates meaning, but will not be graded on accuracy for this.

You may do this in any form that you choose, but you will be assessed on how well you address the first three topics. For example, you might: write an essay, draw a storyboard or comic, do a podcast, video cast, prezi, keynote... etc. Surprise us!

Welcome to the **Scott Pilgrim Versus IB Film Year I** challenge. This assignment is broken into three parts - make sure you address each one! You will be assessed on your ability to **analyze** and **interpret** what you have seen in the film.
 * Challenge 9: Due Wednesday 12/3**
 * [|Titan Pad Link]**

**Part I: What themes does Scott Pilgrim v. The World deal with?** You may either describe one of the themes, or if you can't think of any others after the first few are exhuasted, add your own explanation as to why you think these themes are accurate.

**Part II: Diegetic / Non Diegetic** It would be absolutely //ridiculous// for me to ask you to decide one way or the other which elements of Scott Pilgrim are objectively diegetic or non-diegetic. It doesn't even matter because the fact is that it the film plays wiht diegesis in fun an interesting ways. So of course, I am actually going to make you do this - because while it is indeed a futile and nonsensicle gesture- you cannot attempt this without having a firm grasp on what diegesis is. In this section you must:

1. Choose an element of the film and make a case for it being diegetic or non-diegetic. You may **not** choose anything that is unquestionably diegetic or non-diegetic. For example, Scott is diegetic. Everything he says in the film is diegetic. His clothes are diegetic, and even his thoughts are diegetic. The end credits are non-diegetic. You must choose something that is debatelable in its diegesis.

2. Confirm or argue a point that someone else has made. If all the 'good examples' are taken, you can do this twice instead.

Each of your responses should be a minimum of 100 words.

**Part III: Choose your Five Minute Sequence** This does not have to be within one scene, but it **must** be a contiguious five minutes. List your name, give the sequence a title, and list the timecodes. You may have sequences that overlap, but only by 1 Minute with someone else! This will be part of your final exam.

In this sequence, **identify** all of the following elements that represent director's choices in the film, and discuss how those things create **meaning** towards the **theme** and the **tone** of the film.
 * Part IV: Analyze your Five Minute Sequence (MID TERM EXAM) :) (DUE BY DEC 9)**
 * Lighting
 * Sound
 * Editing
 * Mise-en-scene
 * Cinematography
 * You may present this information in any way that you choose (podcast, presentation, essay, documentary, performance art, interpretive dance... etc) .**

[|Google Drive Link!] Add your email [|HERE]. Put each email on a new line.

1.Watch **//Synecdoche, New York//**. If you’ve seen it, you may choose another movie by Charlie Kaufman or Spike Jonze that you have not seen.
 * Challenge 10: Synecdoche, New York**


 * Create a definition of postmodernism in your own words, citing three different legitimate sources (not wikipedia).
 * Choose a scene in the film that you think best exemplifies the idea of ‘the postmodern condition’ and explain why.
 * Choose a scene from another film that exemplifies the postmodern condition, and explain why.

You may present this information in whatever manner you'd prefer. Aim for around 500 words, more or less and use visuals to illustrate your points.

1. Watch //**Devils on the Doorstep.**// It will not be the movie you expect.
 * Challenge 11: Devils on the Doorstep of Synecdoche New York, or a Postmodern Juxtaposition (due Tuesday 1/20)**
 * Looking at your definitions of postmodernism (and what we discussed in class), explain why //Devils// is (or is //not// - if you want to challenge the assignment) a postmodern film.
 * List five **key** ways that Charlie Kaufman and Jiang Wen create a postmodern condition for their film using //film language// (i.e. editing, lighting, cinematography, etc).

You may present this information in whatever manner you'd prefer. Use visuals to illustrate your points.

Imagine 3 iterations of your story, transposed through a postmodern lens. Each story should have a different approach, although you may decide there is one area of postmodernism that you focus on - or try to include more than one in a single idea. The goal here isn't to show off your knowledge of postmodernism, but to imagine a way that it could add depth (or even ambiguity) to your original simple story.
 * Challenge 12: 3 POSTMODERN IDEAS (due Thursday 1/22)**

Here were your collective key points about postmodern film: Characteristics of Postmodern Film


 * Simulacrum
 * Questioning:
 * Epistemic Certainty
 * Objective Truth
 * Conventions
 * Disrupting Narrative Structure
 * Self-Referentiality
 * Pastiche
 * Intertextuality


 * Have you watched //El Mariachi// yet? No? Watch it! We will be discussing it in class next week!**


 * Challenge 14: POSTMODERN SHORT - Rough Cut Due: 2/26. Final Cut due: 3/2.**

Based on two pages of a script from a film (that we have not watched), work with your team to decide how you would go about filming it. You must consider:
 * Challenge 13: BUT I HAVEN'T SCENE IT! (get it?) (in class work)**
 * Camera placement
 * Camera movement
 * Blocking
 * Performance / Expression
 * Any aspect of miss-en-scene that is necessary to the scene
 * Recorded dialogue

You may consider (time allowing):
 * lighting
 * other aspects of mise-en-scene that add depth & meaning to your scene.


 * Titan Pad Link for Script Suggestions:**

https://titanpad.com/qJqf80O4Sh

Today (Monday, May 11): Oh my gosh, I miss you guys already! I can't believe its already been like 5-6 minutes since I've seen you. Mrs. Sajan will show you a series of videos today - Ya Chun's documentary on **Myra Derren** followed by her **memory project** and her **memory project with commentary. This will be due the last week of school.** Take a look at the **MEMORY PROJECT ASSIGNMENT** - and as a class, discuss how she did based on the rubrics for the project and the project commentary.


 * 15 E: Documentary Video: Due on Friday, May 15.** //This will be handed in on Tuesday, the 19th, but Friday is the due date so that it doesn't overlap with....//


 * 16: Final Narrative Film (ROUGH-ISH CUT):** **Due Tuesday, May 19.** //What??? You are trying to finish your documentary video AND the rough cut at the same time??? Didn't you read earlier that it should have been finished on Friday??? The final cut will be due 5/25- but if it is completed by the 19th we will include it in FILM NIGHT.//

15 A: ANALYZE THIS! 15B: **ANALYZE THOSE!** Watch the second film by your director, and follow the instructions on this worksheet. pages 09 version: p.s. - read the directions- you can either fill in the blanks or present the information in your own creative way. Your choice. **Due Friday, March 20**.
 * THE AUTEUR'S PROJECT**

15 C: **MAP THIS! Due Tuesday, April 7th. - also (optional) - watch Star Wars: A New Hope (1977).**

Watch //**Jaws**// and finish scripts/storyboards by Tuesday, April 28.


 * 15 D: Documentary Script: Due Wednesday, April 23.**


 * CHALLENGE 16: NARRATIVE WITH SOUND**
 * Final Script:** This is the script that you will submit for possible filming. Only 4 will be chosen. It can be a revision or improvement on what you've already written, or it can be entirely new.


 * Please make sure that it is in proper script format (Celtx is on the server if you haven't downloaded it yet).
 * You must keep your script to about 3 Pages (more than 2, less than 4).
 * You must use an 'editing trick' to inspire part of your film. See the [|OFFF Title Sequence] for inspiration.
 * You must have an obvious postmodern twist to your story.
 * The story must take place in one location.
 * Characters must each have their own unique voices, and never directly state their wants or needs.

Please refer to the New Film Rubric (available on the Google Doc) - for the standards associated with **Screenwriting**.

Due Thursday, April 16


 * Write your script Due Thursday April 9**