Thursday, October 30, 2008

The Thief of Always - Journal Activities

Please complete as many of these journal exercises as you would like. Put all work in your journal. Journals will be due at the end of the marking period.

Chapter One - three:
1. Pg. 2; Pick a month. Personify it. Explain why the month is monstrous or marvelous, etc.
2. Pg. 3; Write about your own route to school. What would a detective following your route to school and your day find. Describe where you go and what you do routinely.
3. Pg. 5; Describe what you would like to do with your time or life.
4. Pg. 8; make a list of questions that you would like answered. Start realistically, then begin asking questions a small child might ask or ask questions that seem odd or far-fetched and creative.
5. Pg. 22; What would be a fine thing to build in your life?
6. Pg. 22; Use infinitives to string a series of seemingly random thoughts together as in the first paragraph on page 22 (chapter 3). An infinitive is made by adding TO + VERB. Notice how Barker creates a rhythmic passage using semi-colons and infinitives.
7. Pg. 23; Describe a person’s face using a simile.
8. Pg. 25; Mrs. Griffin says, “Nothing’s perfect…because time passes…and the beetle and the worm find their way into everything sooner or later.” Consider the meaning of this statement. In your journal, list your own reasons why nothing is perfect.

Freedom Writers - Response #2

After watching the film, please post a comment about what you thought of one of the ideas integral (important) to the film. Some suggestions include:

1. Racism
2. The importance of education
3. Loyalty
4. Trust
5. Urban life
6. Change
7. Finding one's voice

Writing project:

Like the students in the film, writing allows us to tell our own stories and find our own voices. By finding our voice as writers, we gain experience and understanding of our own writing and even the world.

Tell your story.

Write a non-fiction draft about a story that happened to you. Pick something that is important to you or something that you need to say. It should be based on your own life, but if you feel the need to, change names and places to protect yourself.

Complete a draft to turn in by Monday, Nov. 3.

Tuesday, October 28, 2008

The Thief of Always - Motifs

The Thief of Always – Clive Barker

Motifs (a motif is a recurring or repeated object, image, or idea in a story):

Questions: Rictus says “No questions boy…questions rot the mind.” Questions (pg. 6, 8, etc.) are a recurring motif in the novel. Try to notice as many “questions” or “question-like” items or events in the book. Remember that this book is a mystery. Without questioning, one can never find the answer to a mystery. What might the author be trying to tell us as people?

Personification: Giving inanimate or non-living objects human qualities. Barker uses the poetic technique of personification throughout the book. As you read, try to notice when he uses it. Consider why he might want to describe inanimate objects with living traits.

Similes: A comparison between two things using the words “like” or “as”. Similes are used like adjectives, to describe an abstract idea in a more concrete or solid way. Keep a record of the number of times Barker uses similes in his novel. Why does he use so much comparison?

Time: Follow references to time throughout the novel. Notice when characters talk about time. How might all this talk about time create a lesson or meaning for us as readers?

Names: many of the names in this book hold clues as to their true nature or significance. What might the names: Rictus, Carna, Millsap (the town), Griffin, Swick, Mr. Hood, Jive, Marr mean?

Animals: Look for the types of animals mentioned or met in the novel. What might be the connection between them?

Transformation
: A character that changes in a story is called “dynamic”. What kinds of changes occur to Harvey and the other characters in the book? Are these all physical or mental changes? Why is change important as a theme, do you think?

Freedom Writers - Response #1

After watching the first part of Freedom Writers, comment on the following:

1. Did the movie accurately depict (show) urban schools or urban life? If so, what exactly was accurate? If not, what seemed to be Hollywood's inaccuracy?

2. Comment on the plot? Which plot line (or narrative story) are you most interested in? Why?

3. What did you notice about the camera work (the shots, the angles, the movement of the camera, the music or sound, or the editing)? Is it well done? Why or why not?

4. Were there any themes or issues that you think are important in this movie? What issue or theme is it?

Friday, October 24, 2008

Film Basics - A Glossary

From The All-Movie Guide Film Glossary
(Konigsberg, Ira. The Complete Film Dictionary. New York: Meridian, 1987.):

Narrative:
A term denoting a story in any form of human expression where no single individual is telling the story.

Narrative Film:
Narrative films can include a large corpus of fiction and nonfiction films including documentaries and dramas though the genre is predominantly fictitious. Narrative films primarily concentrate on story lines and can include character development but the drama and usual fiction are emphasized.

Plot:
The events in an individual narrative and how they are arranged. Arguably the plot and the story are not the same.
{Narrative includes everything that is supposed to have happened in the "story"; plot is more concretely the scenes that are presented in the film, in the precise order in which they are
presented.

Story:
The specific unfolding of a sequence of events in a film. It includes character involvement, settings, and an order that superimposed in an arbitrary manner by the screen writer or by a parallel historical sequence through which the themes are developed. The story is general whereas the plot is specific and includes both internal and external relations to the work.


"Basic Elements of a Film"

Frame:
Frames in essence are still images that are collected in quick succession, developed, and projected giving the illusion of motion. Each individual, or still, image on motion picture film is referred to as a frame.

Shot:
In the process of photographing a scene a shot refers to one constant take by the camera. It is most often filmed at one time with a solo camera.

Sequence:
Segments of a film narrative that are edited together and unified by a common setting, time, event or story-line.

Sound Track:
That portion of the sound film medium to which are recorded the dialogue, music, narration and sound effects. The sound head and film gate on a film projector are physically separated from one another. This gap is covered during the recording of a sound-film by keeping the soundtrack recording a few frames head of the photographic image. The sound passes over the projector head at the same time the photographic image passes before the projector's light aperture/lens (the film gate).

Cutting (a.k.a. Editing):
The process of changing from one shot to another accomplished through the camera or by the splicing of shots together by the cutter (editor). This is also referred to as editing, the preferred term, and includes the decisions, controls, sensibilities, vision and integrative capabilities of the individual editing (cutting) artist.

Montage:
In the production and editing of film this term has come to refer to a seemingly unrelated series of frames combined so that one scene quickly dissolves into the next, shifting categories, effects and settings in such a manner as to convey a quick passage of time or an abstract unity through thematic devices such as meter, rhythm, tonality, and intellectuality (viz Eisenstein). Continuity, if it exists, is not captured in a frame by frame juxtaposition but rather through an abstraction. (Also see "mise-en-scene".)

Camera Angle:
This term refers to the point of view held by the focal point of the camera when it is positioned for shooting. Included in the angle is the perspective given by the camera to the depth of focus, height and width of the particular object and action being photographed. The angle also refers to whether the shot is taken from behind, in front, from the side or from the top or bottom of the particular view. Terms appropriated for these various angles include eye-level angle, high-angle, low-angle, sideview angle and the "Dutch" angle.

Distance:
Distance refers to the amount of relational space between the audience and the character on the screen. Though the characters are two-dimensional and the audience is distinctly separate from the screen by dead space (virtual reality in the theatre has not yet been developed) the camera's perspective, in effect, attempts to provide the amount of space desired subject to the director's discretion. This space often results in the interaction and psychological connection between the characters and the audience. The connection is achieved through the dynamics and varying degrees between long shots, medium shots and close-ups.

Establishing Shot (a.k.a. "Master Shot")
At the beginning of a film, episode or scene within a film, a wide-angle or "full-shot" is photographed for the purpose of identifying the location or setting. Thus the audience has established, or been given the opportunity to surmise an orientation. It also helps to establish the distinctions between the general locale and the specific details -- from subsequent shots -- within the general context.
[The Establishing shot is a wide-angle shot and/or a long shot.]

Camera Movement:
Conventional uses of the camera to obtain camera angles and various perspectives while filming include panning, tilting, tracking or zooming of the camera. These camera ploys are also known as camera movement and rarely does the camera remain static. When a movement does occur, however, the camera comes to a rest providing a smooth transition to the scene. Movements are coordinated with the action in a scene so that the camera does not go in the opposite direction of the action (i.e. action left-to-right.) Of course, many alternative and experimental methods are used in the film industry and camera movement is no exception.

Dolly:
Cameras and other equipment, such as microphones and lights, are often carried around the set on movable platforms. These are dollys and are independently moved by the dolly grip so that the technician, be s/he cameraman, audio or lighting technician, can keep their concerns focused. Dollys are often run on tracks for special dolly pans, chinese dollys, or for mere structurally smoothness. Most of the time, dollys are used for camera work and can include booms for the cameras which allows for the lowering, raising and pivoting of the camera. All of these shots can be achieved simultaneously with an horizontal movement of the camera upon the dolly track.

Dolly Shot:
A camera perspective, on a moving or stationary subject, obtained while the camera is in motion on either a dolly or a camera truck. When the camera is so mounted and moves toward a closer proximity of the subject it is called "dolly-in"; likewise, when the camera is so mounted and moves away from the subject it is referred to as "dolly-out".

{From the Complete Film Dictionary: Tracking Shot: ... So called because it is sometimes photographed from a dolly that moves on tracks, also refers particularly to a shot in which the camera follows the movement of a subject.}

Crane:
A large camera dolly that can raise the camera as much as twenty feet above the ground. The crane has the capacity to move forward and backward and is usually operated by electronic controls. Motions are generally silent and the crane allows shots to be made over a wide ranging area providing great access to cover shots.

Pan:
From the Greek "pan" meaning "all" this movement of the camera is achieved by moving the camera while turning it on an horizontal access. At least four functions are served by this technique including an all encompasing view of the scene, a device for leading the audience to a particular person or place, following a person or vehicle across a distant scene, or giving the audience the visual images and perspective as seen by a character when turning her/his head.
{A turn of the camera up or down on the vertical axis is called a "tilt."}

[From the Complete Film Dictionary:
Zoom Shot: A shot taken with a zoom lens in which the focal length of the lens changes from wide angle to long focus or the reverse so that the camera seems to move in to (i.e., "zoom in" to) or away from (i.e., "zoom out" from) the subject while the camera actually remains stationary.]

Montana 1948 - Response

Please respond to the novel Montana 1948 by Larry Watson by posting a comment about your experience reading the book. (You may pick any of the questions below to answer for your response...or make up one of your own).

Sample response questions:

1. What did you think about the novel? Did you enjoy it or not, and why or why not?
2. Which character was your favorite? Why?
3. Did the ending of the book upset you as a reader? Why or why not?
4. How does the setting (time period and location) help you relate or not relate to the book?
5. What parts of the book could you relate to in your own life?
6. Which character did you least like? Why?
7. What did you notice about the writing style in the book?
8. Would you recommend this book to a friend? Why or why not?
9. How did the author keep your attention with suspense?
10. Were there any parts of the book that you predicted? Was your prediction accurate?

Thursday, October 23, 2008

Montana 1948 - Test 10/27

Just a reminder that there is a test on Montana 1948 tomorrow, Oct. 24. Please be able to identify major characters, the setting, the plot, the central conflict, and be aware of the writing style and use of suspense in the novel.

Coffee House - Personal Response

Congratulations, Freshmen!

You have successfully completed a public performance. I hope you enjoyed the coffee house and will participate in future ones.

Part of our goal this year is for you to get to know your strengths and weaknesses by completing a myriad of assignments, projects, and performances. Self reflection is an important component to learning. As such, please comment on:

How you felt you did last night as a performance. If you had to do it over again, what would you do differently? What did you learn about public speaking by performing your writing last night? What suprised you about the performance? Who's performance did you particularly enjoy? Did you notice anything different between the Freshman performances and the other Creative Writing performances? What did you parents say or think about the performance?

Thursday, October 16, 2008

Marking Period Ends - Is All Your Work In?

The first marking period ends tomorrow. All missing (MI) work on your grade report needs to be turned in immediately. Today, your journals are due as well.

Keep reading Montana 1948. You should try to finish the book by next week. Please take the poll on this webpage to let me know how the reading is going.

Please continue writing the first draft of your Prologue Story (see below).

Prepare your manuscript for the Coffeehouse Readings! A copy of your marked script should be turned in by Monday, Oct. 20.

Our Coffeehouse Reading performance is Wednesday, Oct. 22 at 7:00 in the Ensemble Theatre. Please plan on attending (it's a requirement!)and invite your family. The performance will likely end by 9:00. Refreshments served.

Tuesday, October 14, 2008

Montana 1948 - Prologue Exercise

After reading the prologue of Montana 1948 (pg. 11-12), notice how the author, a now older and wiser person looking back on an incident of the past, describes three distinct characters.

Each character is engaged in DOING something--an action. Let your mind become like a movie screen, allow your narrator to describe the image of a woman swim into view. Describe her action, with a definite body position: standing, sitting, leaning, kneeling, lying down, etc. Take about 5 minutes to write this scene in your journal.

After 5 minutes, see a man in a different body position. See what he looks like, where he is, what he is doing. Describe this character. He says something. What does he say? Take about 5 minutes to write this scene in your journal.

Finally, pick another character: male, female, animal, etc. Describe this person or thing's body position. Describe this character. Take about 5 minutes to write this scene in your journal.

Now you're ready to move further. Decide who your narrator will be, how old the narrator is when the story he/she is narrating happened. Connect the three characters to the narrator somehow. Now type the story.

Wednesday, October 8, 2008

Montana 1948

After picking up Montana 1948, please go Larry Watson's author website and read about him. Read through his biography, FAQ section, and read some reviews of his books. Note any writer advice you learn from him and his website in your journal.

Monday, October 6, 2008

Poetry Revision

Choose 1-2 of your original poems and edit them.

Remove abstract nouns or add visual imagery by using a metaphor or simile.

Strengthen weak verbs (particularly forms of the verb TO BE: is, am, are, was, were, be, being, been).

Choose similar words that start with similar or contrasting sounds to create aural imagery. Aural (sound) imagery includes these poetic techniques:

alliteration (the repetition of consonant sounds found in the beginning of the word)

consonance (the repetition of consonant sounds found within or at the end of the word)

assonance (the repetition of vowel sounds)

onomatopoeia

repetition

juxtaposition (putting words next to each other for effect)

euphony (words that sound pleasant together), and

cacophany (words that sound harsh together)are just a few choices when thinking about the way your poem sounds.

Finally, remove any grammar or syntactical errors.

Thursday, October 2, 2008

Performance Style - tip of the day

When we speak aloud in public the first thing we need to do is prepare our text.

Before jumping up and speaking in front of an audience, it is important to prepare yourself for the event. Here's a few tips to help!

1. Make sure you have an easy to read typed script of your speech, poem, or story. You may find it helpful to enlarge the font so that it can be easily read without squinting. Choose a font that is easy to read.

2. Make some decisions about HOW you are going to read or perform your piece.
A. BOLD words that you would like to stress because they are important.
B. Italicize or underline words that you want to slow down/or read quickly.
C. Place a mark // on your script to indicate a pause.

3. Make a decision about the MOOD of your piece. Is the poem or story sad or happy? What sort of VOICE does your narrator/speaker have and try to match that emotional intensity. Jot down notes on the top of your script about how you are planning to read the piece.

By marking or scoring your script BEFORE you read aloud, you can enhance your performance skills.

The Graveyard Book - Discussion Questions

  In your discussion groups, please answer 5 of the 10 discussion questions. Choose a member of your group to record your answers. Make sure...