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Learning Report
Michael Martell
Professor Alan Brown
Student Teaching Internship
April 28, 2014

I. Introduction

A short series of lessons on film adaptations was taught to a standard-level English 4
class of twenty-nine 12
th
graders after students completed a larger unit on Macbeth. The
mini-unit was designed to build on students knowledge of thematic and plot elements of
Macbeth and offer a new lens through which to analyze and interpret them: film studies.
Throughout the unit, students were pushed to consider how directors use film techniques
to develop the mood, plot, characters, and themes. The unit was scaffolded in such a way
that students first learn a new set of film and literary terms, identify them in a series of
short film clips, analyze them by comparing and contrasting different Macbeth
adaptations and, finally, work in small groups to make their own adaptations of Macbeth.
Along the way, students completed a diagnostic test and guided notes on the terms,
several activities to identify film techniques and analyze their effects in film clips, a
group project to plan, perform, and present an original Macbeth adaptation, and a final
test on the film and literary terms.

There were two central objectives for this unit: students will 1) demonstrate an
understanding of the most essential terms used in film studies and 2) apply these terms to
their analyses and interpretations of how a literary textmore specifically, Shakespeares
Macbethcan be developed. By viewing an adaptation as an act of interpretation,
students not only evaluate multiple ways of viewing Shakespeares text, but also
formulate their own unique perspective. The collaborative nature of the activities,
particularly the group project, offered students of various learning stylesranging from
visual to kinesthetican opportunity to work together towards a deeper understanding of
Shakespeares text.

A closer look at standards met:

CCSS.ELA-Literacy.RL.11-12.3: Analyze the impact of the author's choices regarding
how to develop and relate elements of a story or drama (e.g., where a story is set, how the
action is ordered, how the characters are introduced and developed).

Each assessment of the unitexcept the diagnostic and final test on film and literary
termsrequired students to consider the impact of directors choices on how the drama is
developed. The closure for the first lesson, for example, required students to consider
how specific film techniques affect their understanding of mood, plot, characters and
themes in the film. Even if the film was totally unfamiliar to most students, they were
pushed to consider how a specific technique might contribute to the plot. For example,
after viewing a 9-second clip, several students wrote that the pan shot established the
setting and introduced the characters in the room. Each of the assessments for lesson two
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required the same exercise: identifying specific film techniques and literary devices and
analyzing how they affect the audiences understanding of the mood, plot, characters, and
themes.

For the Create Your own Macbeth adaptation group project, each student was required
to turn in a 1-paragraph reflection on how his or her directors choices helped to
develop the mood, plot, characters, and themes of the original text (See Appendix F). By
viewing directors as authors and interpreters, students not only analyze the impact of how
others develop a drama, but also the impact of their own creative decisions.

CCSS.ELA-Literacy.RL.11-12.7: Analyze multiple interpretations of a story, drama, or
poem (e.g., recorded or live production of a play or recorded novel or poetry), evaluating
how each version interprets the source text. (Include at least one play by Shakespeare and
one play by an American dramatist.)

On two occasions during the second lesson, students analyzed two adaptations of a single
scene from Macbeth. After identifying specific film techniques and analyzing their
impact on the audiences understanding of the scene, students were grouped into pairs to
evaluate how each directors approach interpreted Shakespeares original text in different
ways. These activities allowed students to pinpoint how directors choices (ranging from
specific shot transitions to deviations from Shakespeares original text) add up to an
overall interpretation of Macbeth. For auditory and visual learners, the activity offered
the opportunity to analyze different ways to interpret Shakespeares text in spite of
difficulties with the early modern English.

CCSS.ELA-Literacy.SL.11-12.1B: Work with peers to promote civil, democratic
discussions and decision-making, set clear goals and deadlines, and establish individual
roles as needed.

For the third lesson, students worked together in groups of three or four to create a plan
for an original Macbeth adaptation. The project required students to establish individual
roles, collaborate to make creative choices for their adaptation, and prepare how they will
present and perform their work in class. Though the work required for each specific role
was clearly outlined, many aspects of the project were open-ended and left to the
discretion of the group. For example, at the beginning of the lesson students brainstormed
a setting and a premise that is different from the original Macbeth text. Then, students
determined a particular sceneor scenesto adapt. Only once the students arrived at a
consensus on these preliminary choices could they plan their performance and
presentations. In addition, the work required for each individual role could not be
accomplished without communicating often with each group member. For example, the
cinematographer was required to compile a detailed plan for each shot and transition used
in their adaptation, referencing specific lines in the scriptwriters script along the way
(see Appendix F).

CCSS.ELS-Literacy.SL.11-12.6: Adapt speech to a variety of contexts and tasks,
demonstrating a command of formal English when indicated or appropriate. (See grades
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11-12 Language standards 1 and 3 here for specific expectations.)
The group performance required students to adapt speech to a variety of contexts. The
assignment required each group to use at least 15 lines of Shakespeares early-modern
English in their script, which must also adapt the text to a modernized setting and
premise, including different character and place names. During the performance, students
were encouraged to act out their roles considering how their characters contribute to the
plot and thematic development of that moment in the text.
Throughout this group performance activity, students are given a large amount of
freedom to adapt Shakespeares language in a way that suits their particular learning
styles. Though the project inherently requires verbal/linguistic intelligence, it also allows
for visual/spatial and bodily/kinesthetic learners to engage with Shakespeares text in
ways that involve movement, visualizing the scene, and designing a spatial arrangement
to represent it.
1

In addition, each group was required to coordinate a presentation of their performance in
which each member explained an aspect of the performance as determined by their role in
the group. This assessment required groups to arrive at a consensus about how best to
explain the various facets of their project. It also required them to apply the film and
literary terms to more formal speech.
Assessment Plan:

Lesson One: Introduction to Film and Literature

Standards met:
CCSS.ELA-Literacy.RL.11-12.3: After learning film and literary terms, students applied
this knowledge in a film clip analysis partner activity. Students not only identified
specific film techniques used in the clips, but also analyzed how the directors use of
these techniques help to develop the mood, plot, characters and themes. Thus, students
were encouraged to consider film directors as authors.

Essential Question(s): How can film techniques help us understand how a work of
literature is developed?

21
st
century skills:
Reason Effectively The pre-test on film and literary terms pushed students to use
process of elimination both on section I (matching terms with their definitions) and on
section II (multiple choice). In particular, the second section required students to deduce
the definition of these terms based on how they are applied to a variety of situations and
contexts.


1
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multiple intelligences anu leaining styles.
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Visual Literacy By considering film clips as excerpts of literary works, students are
pushed to consider how a director uses specific techniques (such as the framing, angles,
and movement of shots, transitions between shots, colors, props, and costumes) to
develop the mood, plot, characters and themes of a story visually. The film clip analysis
activity requires students to apply their understanding of these techniques to what they
see in short clips and speculate about how they may contribute to the literary
development of the film as a whole. This active viewing encourages students to take
intellectual risks and apply their literary analysis skills to a visual artifact.

Formative assessment(s): At the beginning of the class period, students were given a
diagnostic test on film and literary terms (Appendix A). Though none of the terms had
previously been taught in the class, many terms such as point of view, rising action, and
falling action are required by the NC CCSS and most likely were familiar to the
majority of students. This pre-test not only allowed the teacher to assess each students
prior knowledge for the unit, but also expose the students to the essential terms for the
unit. Following the test, students were given a terms sheet that they filled out as guided
notes during a Google Slides presentation, during which the teacher provided the
definitions of these terms as well as examples of how they are used in popular films
(Appendix B). At the end, students completed a think-write-pair-share activity in which
they identified film and literary techniques used in various clips and analyzed how these
techniques affect the mood, plot, characterization, and themes. After writing their
individual observations on the Film Clip Analysis Sheet (Appendix C), they shared
their ideas with a partner.

Lesson Two: Analyzing Macbeth and Film

Standards met:
CCSS.ELA-Literacy.RL.11-12.3: Comparing the film techniques used in clips from
multiple film adaptations of Macbeth, students analyzed the impact of these directors
choices on how the audience understands the mood, the plot, the characters, and the
themes of a particular scene.

CCSS.ELA-Literacy.RL.11-12.7: Students compared and contrasted the specific
techniques used in two film adaptations of the same scene from Macbeth (completed for
both Act I, scene i and Act I, scene iii).

Essential Question(s): What is an adaptation? How can a film adaptation affect our
understanding of the original text?

21
st
century skills:
Visual Literacy: Students analyze how a director can visually develop a work of literature
through specific film techniques. By analyzing two film adaptations of the same scene,
students were required to integrate their prior knowledge of the original text in their
analysis of the film clips.

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Formative assessment(s): Building on the previous lesson, students began the lesson by
identifying film techniques and analyzing how they contributed to the audiences
understanding of mood, plot, characters, and themes (filling out clips #4 and #5 of the
Film Clip Analysis Sheet Appendix C). Unlike the clips from the previous lesson,
however, clips #4 and #5 were two adaptations of a single scene from Macbeth (Act I,
scene i). After filling out their observations for both clips, students were grouped into
pairs and instructed to discuss differences in the way each director interprets the scene.
Later in the lesson, students individually wrote responses to three questions after reading
an original song appearing in Akira Kurosawas Macbeth adaptation, Throne of Blood
(Appendix D). The three post-reading questions required students to consider the text in
relation to Macbeth. In particular, the third question required students to identify themes
in the song that run parallel to those of Macbeth and cite specific passages from both
sources. This assessment allowed the teacher to gauge each students ability to synthesize
the plot and themes of the larger play and analyze them in relation to the short song. As a
final assessment of the lesson, students analyzed two clips of Act I, scene iii, the first
from Kurosawas Throne of Blood, the second from Rupert Goolds PBS adaptation. For
this assessment, students folded a blank sheet of paper to make a T-chart for the two
films and wrote observations under the categories mise-en-scene, shots, editing,
sound/special effects while viewing the two clips. After viewing, students wrote a brief
reflection on how the differences between the two directors choices affected their
understanding of the scene, and then they discussed this essential question with a partner.


Lesson Three: Create Your Own Macbeth Film Adaptation

Standards met:
CCSS.ELA-Literacy.SL.11-12.1B: Working in groups of three or four, students
brainstormed a premise and setting for an original Macbeth adaptation, chose a part or
parts of a scene to adapt, established individual roles for the project, and collaborated to
complete the project and prepare their group performance and presentation.

Essential Question(s): How can we interpret an original text by adapting it to film?

21
st
century skills:
Communication and Collaboration (Communicate Clearly / Collaborate with Others):
Students collaborated in small groups to plan and prepare an original Macbeth adaptation
based on a scene or scenes from Macbeth. To complete this group project, students
were required to share ideas, divide work into roles, and communicate with one another
to prepare a coherent performance and presentation for the following lesson.

Creativity and Innovation (Think Creatively / Work Creatively with Others): Each group
was charged with the task of writing, planning, performing, and presenting an original
adaptation based on a scene or scenes from Macbeth. While each group was required
to use at least 15 lines of Shakespeares original language, they were instructed to change
as many details about the premise, setting, and characters so long as their adaptation tied
back to the plot and themes of the original text. This lesson required students to apply
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their knowledge of the film techniques and literary devices as opposed to merely
identifying them. It also encouraged them to think creatively and take intellectual risks.

Productivity and Accountability (Manage Projects / Produce Results): During this lesson,
the teacher took on the role of facilitator, leaving each group to make independent
decisions, divide responsibility for individual roles, and collaborate together to execute
the various facets of the project. Though each individual was held accountable for his or
her chosen role, the group as a whole shared equal responsibility for preparing many
components of the project, such as the group performance. Students were given specific
instructions of what to complete (see Appendix E and F), but were responsible for
determining how to budget their time most efficiently.

Flexibility and Adaptability (Adapt to Change): The project required each student to
adapt to the needs of other group members in order to prepare for the group performance
and presentation. Even the work required for each individual role could only be
accomplished if the students were flexible about how their ideas fit together with those of
fellow group members.

Formative assessment(s): Having arranged the seats into tables of 3 or 4, the teacher
began the class with a warm-up assessment: each table was given the task of
brainstorming the setting and premise for an original Macbeth adaptation. After using a
Google Slides presentation to activate knowledge from the previous lesson, the teacher
circulated to support individuals as they collaborated with their small groups. After 10
minutes of group brainstorming, the teacher called on three groups to share their ideas
with the whole class, thus modeling a wide array of ideas. The teacher then explained the
group project: to create an original Macbeth adaptation that changes the setting and
premise, but ties back to the themes, character dynamics, and plot of the original text (see
Appendix E for Group Instructions and Rubric). Each group was held accountable for
presenting and performing their adaptation (for the following lesson), and each group
member chose at least one of the following roles: scriptwriter, set designer,
cinematographer, and light and sound engineer (Appendix F). Each group member
was held accountable for completed the work required for their role while also
collaborating with their group members to prepare a presentation and performance for the
following class. The teacher assessed students progress by circulating among groups and
asking group and individual questions about their project.

Lesson Four: Perform and Present Your Own Adaptation

Standards met:
CCSS.ELS-Literacy.SL.11-12.6: Groups of students performed original adaptations
based on Macbeth, utilizing at least 15 lines of Shakespeares early-modern English and
integrating it to a modernized setting and premise. In addition, all group members
individually presented their contributions to the adaptation (either before or after the
performance) utilizing the film and literary terms that most pertained to their specific
role.
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Essential Question(s): How can a performance of a play affect our understanding of the
text? How should Shakespeares plays be performed in this day and age?

21
st
century skills:
Communication and Collaboration: Small groups of students performed their 2-6 minute
Macbeth adaptations. In addition, each student presented a particular aspect of their group
adaptation either before or after the performance, requiring coordination among group
members.

Formative Assessment(s): At the beginning of class, each student prepared to answer 2
questions about all other groups performances: 1) What is the most interesting choice
this group made for their adaptation? and 2) How did this groups adaptation make you
view the original text in a different light? This peer-review assessment, collected at the
end of class, gave the teacher an idea of what the students learned from their peers and
how they connected their peers adaptations to Shakespeares original text. The bulk of
the period was dedicated to the group performances and presentations. During the
performance, the teacher assessed each group based on how well the group rehearsed and
worked together as well as how well the adaptation connected to the plot, themes and
motifs of the original text (see rubric Appendix E). Before each performance, the
groups scriptwriter and set designer introduced the characters/premise and the setting/set
design, respectively. After each performance, the groups cinematographer and light &
sound engineer explained what their choices would be if the adaptation were set to film.
The individual presentations were evaluated based on how clearly they addressed the
prompts (see last number for each role Appendix F). After all groups performed and
presented, each group came up with a list of three specific film techniques used by other
groups that they found interesting and shared it with the whole class. As a closure,
students wrote a response to the question of whether Shakespeares plays should be
adapted to modern times or stay true to the details of the original text, using specific
examples to support their position.

Lesson five concluded the unit with a final test on film and literary terms.

Formative Assessment Data:

Since the Common Core State Standards replaced the NC Standard Course of Study in
August 2012,
2
English 4 teachers are no longer held to a specific curriculum, so long as
they meet the standards outlined by the Common Core. However, many of the 11
th
and
12
th
grade standards require teachers to include Shakespeare.
3
As such, this mini-unit on
Macbeth and film contained informal formative assessments designed to meet certain
Common Core standards and 21
st
century skills that were not as central to the larger unit
that preceded it in which students read Macbeth in its entirety and were assessed
primarily on their reading comprehension and writing. All assessments were developed

2
Bpi.state.nc.us "K-12 Cuiiiculum anu Instiuction NC Stanuaiu Couise of Stuuy"
S
See, foi example, CCSS.ELA-Literacy.RL.11-12.7, which requires at least one play by
Shakespeare.
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by the teacher in an attempt to address these standards and skills through interactive,
student-centered activities.

These assessments helped to inform the teacher as to which concepts were grasped and
which ones needed to be emphasized in subsequent lessons. The cooperating teacher was
a particularly valuable resource because she was able to suggest a variety of research-
based methods that had worked well previously with this particular group of students in
the past. Her most valuable insight was on how to divide the students into small groups
for their Create Your Own Adaptation project. Rather than assigning the members and
roles for each group, we arranged the desks into tables of three or four. This gave
students the opportunity to choose their own groups in a way that did not risk students
feeling excluded (all extra desks were removed so that no individual could be left out).
Giving students the chance to choose their groups and roles motivated them take more
ownership of their project and make independent decisions on how to collaborate both
inside and outside of class. One particular ESL student who had previously been
unwilling to present in front of his peers felt more encouraged to be in a group with his
friends, who were aware of his fear of public speaking and supported him through the
process. In the end, he exceeded expectations by not only presenting individually, but
also acting out a major role in his adaptation.

Though no formal formative assessment system was used for this unit, the pre-test on
film and literary terms provided the teacher with more quantifiable data to interpret each
students understanding of the terms at the beginning of the unit. The rest of the
formative assessments were informal and provided the teacher more qualitative
information about how students apply these terms through creative activities. These more
informal assessments also gave clearer indications as to whether or not students grasped
the essential question of the lesson. The final presentations and performances of the
group adaptations, though designed as a capstone for the mini-unit, are here classified as
formative assessments because they gave the teacher excellent insight into each students
ability to apply the essential concepts and terms of the unit while exercising 21
st
century
skills, such as Communication & Collaboration and Creativity & Innovation.

By the end of each lesson, students knew:

Lesson One:

The first formative assessment was the pre-test on film and literary terms (Appendix A).
The average score was low (54%) and only 31% of students passed, most likely because
none of the terms had previously been covered in the course. However, the test was
structured in such a way that students could use both deductive and inductive logic to
make educated guesses. In addition, many of the terms may have been familiar to some
student from previous semesters and general knowledge of movies (for example, point of
view, flashback, and close up shot). Perhaps for this reason, a few students scored
significantly higher than others, with scores ranging from 11% to 100%. The test
revealed that a large percentage of students did not understand basic terms related to plot
structure (exposition, rising action, etc.), which prompted the teacher to tweak the
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following lesson to emphasize those terms. After the pre-test, the teacher used a
PowerPoint to give the definition of each term in the context of how it is used while
students took guided notes on a full list of terms (Appendix B).

The second formative assessment of the lesson was a think-write-pair-share activity in
which students viewed various film clips. Using a chart on the Film Clip Analysis sheet
(Appendix C), students wrote down as many film techniques as they could identify in
each clip and wrote down how these specific techniques affected their understanding of
the mood, plot, characters, and themes in the film. Before showing the first clip, the
teacher explained to the students that, for many of the clips, the surrounding details for
the plot and characters would not be explicit, but that they should try to speculate based
on how the film techniques present them. The assessment allowed me to gauge which
terms each student could recognize in these three short clips.

The teacher was pleased to see that all students were able to identify at least one film
technique in each clip and write at least one observation of how the technique affected
their understanding of the mood, plot, character, or theme. For example, over 90% of
students wrote down low-angle shot as a significant technique in the clip from Orson
Welles Citizen Kane, and at least 85% wrote something to the effect that characters
seem powerful. Many students made more implicit connections in their analyses, even if
they failed to link to a particular film or literary term. For example, one student wrote that
the two characters in clip #3 appear to be oblivious to things going on, like the ticking
[noise], showing a sensitivity to the knowledge of characters vs. audience, even if the
term dramatic irony was not used.

This assessment revealed that, because of the format of the Film Clip Analysis sheet,
few of the students explicitly articulated how each technique affected their understanding
of each of the four literary aspects. It also revealed that some students failed to grasp that
mise-en-scene is not a specific film technique, but rather a term used to describe
everything that is physically put into a scene (props, costumes, etc). This information led
the teacher to modify an activity in the second lesson: for the analysis of Kurosawas and
Goolds respective adaptations of Act I, scene iii of Macbeth, students wrote the film
techniques they observed under 4 distinct categories, one of which was mise-en-scene.

Lesson Two:

The first assessment of lesson two followed the same format as the final assessment of
the previous lesson. Using the Film Clip Analysis sheet, students identified specific
film techniques and analyzed how they impacted their understanding of mood, plot,
characters, and themes (Appendix C). However, unlike the clips from the previous lesson,
clips #4 and #5 were two different adaptations of the first scene of Macbeth (Act I, scene
i). This pairing of two adaptations of the same scene encouraged students to analyze of
how a directors choices can impact our understanding of the original text, which
connected to the essential question for the lesson. It also allowed students to draw on
their knowledge of the plot, themes and characters of Macbeth to aid their analysis of the
impact of specific film techniques. For example, many students noticed that in clip #4, of
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Orson Welless 1948 adaptation, the witches use a cauldron to form a miniature clay
voodoo doll of Macbeth. During the whole class discussion, one student explained this
detail implies that the witches control not only Macbeths fate, but also his actions.

For the second formative assessment, students answered a series of questions after
reading a song appearing in Akira Kurosawas Macbeth adaptation, Throne of Blood
(Appendix D). The assessment was designed to make students analyze how the short text
relates to Macbeth as a whole. The third question required students to articulate how the
song expresses a theme that appears in Macbeth while citing specific passages (both in
Macbeth and the song) for support. As students searched through Macbeth, the teacher
was able to assess what themes individual students identified and which characters they
associated them with. Most students searched through the text based on significant events
they remembered, but some searched for specific passages that they remembered for
raising similar themes. For example, a handful of students searched for Macbeths sound
and fury soliloquy (Act V, scene v, lines 17-28) to link with the line mens lives are as
meaningless / as the lives of insects. (lines 4-5 of Kurosawa song).

The third assessment, much like the first, was a think-write-pair-share requiring the
students to analyze the differences between two adaptations of a single excerpt from
Macbeth (when Macbeth and Banquo first meet the three witches in Act I, scene iii).
However, for this assessment students recorded their observations on a T-chart (one
column for each adaptation). Rather than simply asking them to recognize film
techniques, as the teacher did at the end of the previous lesson, the teacher had them
write observations for 4 categories (mise-en-scene, shots, editing, and
sound/special effects). This organization helped assess how students understood the
organizational relationships among the terms. After viewing each clip, the teacher called
on students to volunteer observations for each category as the teacher wrote them on the
board. Compiling student responses proved to be an effective way to model not only
correct classification of the terms, but also analysis of how they may have an impact on
the audiences understanding of the original text. Organizing responses on the board
made it easier for students to analyze the two directors interpretations because they
could refer back to their classmates observations. Unfortunately, the exit-ticket
assessment in which students would answer the essential question (How can a film
adaptation affect our understanding of the original text?) was not given out due to the
teachers misjudgment in pacing. However, all three assessments met the objectives of 1)
students analyzing the impact of authors choices and 2) students analyzing and
evaluating more than one interpretation of a play.

Lesson Three:

Because the primary objective for lesson three was for groups to work independently on
their projects due the following day, nothing was collected at the end of the period.
However, the teacher was able to assess students involvement and progress informally
by circulating and asking questions. After the group brainstorm at the beginning of the
lesson, the teacher made a point of asking each group what they had decided on for the
setting and premise of their Macbeth adaptation. After students decided on their roles for
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the group, the teacher asked students specific questions related to how their individual
work connected to the work of their group members (e.g., asking the groups
cinematographer what angle she would use for the first shot, what characters it would
frame, and how this related to the scriptwriters descriptions of the characters). In an
attempt to promote the 21
st
century skills of communication, collaboration, initiative, and
self direction, the teacher took on the role of facilitator while students determined their
own roles, set goals, and collaborated on producing a final product, presentation, and
performance for the following class. This student-centered approach allowed the teacher
to speak individually with each student at least once during the lesson and offer support
when needed.

Lesson Four:

During the fourth lesson, each group presented and performed their original Macbeth
adaptation. While each group presented and performed, all other groups responded to two
questions: 1) what is the most interesting choice that this group made for their
adaptation? and 2) how did their adaptation affect your understanding of the original
text? This assessment addressed two Common Core standards (to analyze the impact of
authors choices (CCSS.ELA-Literacy.RL.11-12.3) and to analyze multiple
interpretations of a play (CCSS.ELA-Literacy.RL.11-12.7)) as well as the essential
question of how a performance can affect our understanding of an original text. This
assessment was particularly meaningful because it encouraged students to evaluate how
their fellow classmates interpret Shakespeare.

For the performances, groups had free reign so long as they a) drew multiple parallels to
specific moments in the plot of Macbeth b) developed at least 2 themes through motifs
and other literary/film techniques c) included at least 15 lines of Shakespeares original
language d) each student acted out a major role, and e) kept it between 2 and 6 minutes
(Appendix E). Each performance showed evidence of the 21
st
century skills of
Communication & Collaboration as well as Creativity & Innovation. One group changed
only the setting and premise but retained most of Shakespeares original language, while
most chose to paraphrase lines from Shakespeare to fit their premise and setting (ranging
from present-day white house to Mexico during the 1920s, from a college frat house to a
mythological Ancient Greece). One group performed a particularly creative adaptation in
which Macbeth was a low-level, yet high-achieving employee at a grocery store who,
while restocking expired items before the store opened, was hailed by a mysterious
janitor as lead cashier and told that he will be store manager. Another group made
use of jump cuts to splice together two short sections of different scenes. The wide range
of interpretationssome more comical, some more tragicillustrated the creative
potential that actors and directors have when dealing with Shakespeares plays. It also
demonstrated the importance of tone and mood in developing a scene, either through
writing (word choice, plot twists) or performance (staging, acting, etc.).

For the accompanying presentation, each group member was required to respond to a
series of prompts based on their role in the group. Thus, each student needed to reflect on
his or her contributions, organize them into a concise speech, and explain how their
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choices (either as scriptwriter, set designer, cinematographer, or light & sound engineer)
impacted the audiences interpretation of the text. These presentations served not only as
a way to assess each individuals contribution to the performance, but also as a means of
communicating the hypothetical special effects, sound effects, shots, and transitions.
Even though each group member was given clear instructions for what to present, not all
students presented. Some let their group members explain their portion of the work,
either because they forgot while on stage, were too shy, or did not want to do the work.
The teacher evaluated these students accordingly, and reminded students that each
individual was required to present. However, over half of the presentations were well
done: clear, to-the-point, and well-rehearsed.

The teacher also offered two extra credit opportunities: 5 points for any group that
brought in at least 1 prop, 1 costume, and 1 musical/sound effect; 20 points extra credit
for any group that made a 2+ minute film of their adaptation that had at least 5 shots
edited together, at least 1 prop, at least 1 costume, at least one lighting effect, and at least
1 sound effect. Unfortunately, no students completed these extra credit assignments.
Some groups expressed interest in completing the video project, but ultimately none was
able to organize time to meet outside of class.

Summative Assessment Data:

The summative assessment was a 2-section test consisting of 25 matching questions (of
all terms introduced in the unit) and 10 multiple-choice questions (in which students
evaluate how these terms should be applied in context) (Appendix G). This test was
identical to the pretest in format and similar in content and difficulty. The terms in the
matching section were scrambled to eliminate the possibility of students choosing
answers based on the exact order of questions on the pretest. The multiple-choice
questions on the final test assessed the same skill as those of the pretest (i.e., the ability to
choose the correct term based on how it is applied in context), but tested different terms.
The pre- and final testadministered on the first and last days of the unit, respectively
were designed to assess each students ability to identify the correct definition of each
term and how they are used in context of specific examples (illustrated both through
hypothetical scenes and scenes from actual films). However, these tests did not assess the
essential skills and standards of the unit, such as analysis of the impact of
authors/directors choices, collaboration & communication, creativity & innovation, and
initiative & self-direction. Though these tests assessed only a small portion of the skills
that were targeted for this unit, the teacher wanted to have at least one quantitative
measurement of student growth.

By the end of the unit, students demonstrated not only a stronger understanding of the
terms, but an ability to apply them through projects that required collaboration, self-
direction, and creativity. From a quantitative standpoint, the final test scores indicate that
students had finished the unit knowing more film and literary terms than when they
began. The scores also reflect an improved ability to reason effectively, both inductively
and deductively (21
st
century skill for Critical Thinking & Problem Solving). From a
qualitative standpoint, the students finished the unit with the confidence of knowing that
Naitell 1S
they had produced original adaptations of Macbeth, collaborated with peers to present
and perform their work, and applied the new terms and concepts creatively along the
way.

Analysis and Reflection:

Though student learning is inherently unquantifiable, the data from the students pre- and
final test on the film and literary terms serve as the most tangible evidence of student
growth. Because the two tests were designed to assess the same content, in the same
format, and with approximately the same difficulty, the scores on the pre- and final tests
provide some insight into what students learned.
4
It is therefore sensible to analyze this
data before turning to the more intangible indications of student growth.



!"#$%& () *+", -"#$%& %&./%0, 0+& .%&0&,0 ,1/%&, 2"3 .&%1&30 /- 4$&,0"/3, 1/%%&105 /- 677 89
,0$:&30,; *+& &<&3 :",0%"=$0"/3 63: >":& %63#& /- ,1/%&, ,$##&,0, 0+60 ,0$:&30,? .%"/%
@3/>7&:#& /- 0+& A60&%"67 <6%"&: #%&607B;

The wide range of scores on the pretestranging from 11% to 100%indicates that
students prior knowledge of these terms varied greatly. This difference in knowledge
base created an additional challenge for the teacher, who attempted to differentiate
instruction to meet the needs of both the advanced and struggling students. For this
reason, a large portion of the unit was dedicated to the create your own adaptation
group project so that students with more of a knowledge base could aid the lower-scoring
students as they collaborate on the various facets of the project. Because the project was
both creative and self-directed, students of varied proficiencies and learning styles could
apply their understanding of the content towards a meaningful end-goal.

4
It shoulu be noteu again that no foimal assessment uata was collecteu. In fact, the two tests weie
neithei stanuaiuizeu by any outsiue contiols, noi cieateu accoiuing to any citeu methouology.
Naitell 14

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:/ CD* 1/%%&760& >"0+ 0+/,& /- -"#$%& (F %60+&%G &61+ ", 6%%63#&: -%/A 7/>&,0 0/ +"#+&,0 ,1/%&
0/ "77$,0%60& ,0$:&30 .&%-/%A631&5;

The scores on the final test indicate that, by the end of the unit, most students had reached
a higher level of understanding the terms. The average score for the 29 students went up
from 54.4% to 82.6%a 27.8% jump (see below). An analysis of each individual
students pre- and final test scores revealed that all scored higher on the final test than on
the pretest except for two students: one who scored 100% on both tests and one who
scored only 11% on both (the lowest grade for the final test). This second students lack
of growth may be attributable to the fact that she missed the Google Slides presentation
on each term illustrated through examples in popular films. She was given the terms list
sheet and instructed to watch the presentation outside of class (posted on the cooperating
teachers webpage), but the teacher did not check to make sure that she had done so. One
may posit that, because the only student who showed no growth also missed the Google
Slides presentation, all other students benefited at least somewhat from this particular
activity from the first lesson. Perhaps the strongest indication of student growth is that 23
of the 29 (79%) of students passed the final test whereas only 9 (31%) passed the pretest.

Naitell 1S

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,1/%& -/% 0+& -"367 0&,0 2=/0+ %&./%0&: "3 .&%1&30 /- 4$&,0"/3, 1/%%&105; *+", ,"A.7& -"#$%&
"77$,0%60&, 0+60G /3 6<&%6#&G 0+& ,0$:&30,? ,1/%&, "31%&6,&: =B 8I;JK;


!"#$%& L) *+", -"#$%& %&./%0, &61+ ,0$:&30?, .%&0&,0 ,1/%& .&%1&306#& 2/3 0+& 7&-0 "3 =7$&5 63:
-"367 0&,0 ,1/%& .&%1&306#& 2/3 0+& %"#+0 "3 %&:5; M0$:&30, 6%& +&%& 6%%63#&: "3 /%:&% /- 0+&"%
,1/%& /3 0+& -"367 0&,0; *+& -"#$%& "77$,0%60&, +/> A$1+ &61+ "3:"<":$67 "A.%/<&: 0+&"% ,1/%&
-%/A 0+& =&#"33"3# 0/ 0+& &3: /- 0+& $3"0 2,0$:&30, N (H 63: 8L ,+/>"3# 0+& A/,0
"A.%/<&A&30 63: ,0$:&30, N( 63: N8O ,+/>"3# 0+& 7&6,0 "A.%/<&A&305; C/ ,0$:&30, ,1/%&:
>/%,& /3 0+& -"367 0&,0 0+63 /3 0+& .%&0&,0;

Though these scores provide strong evidence of student learning, it is difficult to draw
conclusions about how the teachers instruction impacted these scores. Because the
teacher was more concerned about students meeting Common Core Standards and
exercising 21
st
century skills, he dedicated little to no class time to reviewing the terms
and their definitions. Furthermore, much of the unit was structured around independent
Naitell 16
group work, and each individual, depending on his or her role, may have worked
predominantly with only a small fraction of the terms. In short, each students learning
was largely contingent on his or her own self-directed work, both in and outside of class.


!"#$%& O) *+", -"#$%& %&./%0, +/> A63B ,0$:&30, 63,>&%&: 4$&,0"/3, N8P 0+%/$#+ NHO 20+&
A$70".7& 1+/"1& 4$&,0"/3,5 "31/%%&107B /3 0+& -"367 0&,0; Q$&,0"/3 NH8 >6, A",,&: A/%& 0+63
63B /0+&% 4$&,0"/3 2(O "31/%%&10 %&,./3,&,5 -/77/>&: =B NHL 29 "31/%%&10 %&,./3,&,5 63: N8I
2I "31/%%&10 %&,./3,&,5; *+&,& :606 "A.7B &"0+&% 0+60 ,/A& 4$&,0"/3, >&%& A/%& 1+677&3#"3#
0+63 /0+&%, /% 0+60 0+& "3,0%$10"/367 $3"0 :": 1/<&% 0+&,& .6%0"1$76% 0&%A, 6, 0+/%/$#+7B
2A",&R&3R,1&3&G A601+ 1$0G 63: :&3/$A&305;

Nonetheless, there seemed to be trends for which concepts students failed to grasp by the
end of the unit. By examining how many students incorrectly answered each multiple-
choice question, we see that students struggled most with questions number 32, number
34, and number 27 (in that order). Question number 32, which 15 students answered
incorrectly, was a straightforward recall question of what is considered a part of the
mise-en-scene (the answer being lighting). The first formative assessment (the Film
Clip Analysis worksheet) indicated that several students struggled with this term, but the
teacher failed to modify instruction in a way that addressed these students individual
needs. Perhaps also the role of lighting & sound engineer led students to believe that
lighting fell under a category other than mise-en-scene.

In retrospect, the teacher recognizes that 5-10 minute exit tickets on the terms would
have served as a more effective way to formatively assess each students understanding at
the end of each lesson. This strategy also would have given students short doses of
practice with the terms to build confidence and keep the knowledge fresh. On each exit
ticket, the teacher could have included a short prompt that required each student to
respond directly to the essential question. These end of the lesson assessments not only
accurately reflect what the students are likely to retain, but also reinforce the take-
away concepts so that students are more likely to retain them. In addition, the teacher
can use the data to assess individual students learning and adjust lessons on a day-by-day
basis.
Naitell 17

Though the teachers formative assessments did not yield such clear, standardized data,
they did require students to meet the targeted Common Core Standards and exercise 21
st

century skills. The three film clip analysis activities, interspersed throughout the first
and second lessons, not only assessed what film techniques each student could identify in
film clips, but also encouraged them to consider how these techniques impact the
development of the drama (CCSS.ELA-Literacy.RL.11-12.3). The separate categories
mood, plot, character, and theme forced students to consider the various elements
that an author or director considers when developing a drama. These film clip analysis
sheets informed the teacher which terms each student could correctly identify and how
the each student understood the literary development of the clip. However, even though
the worksheet instructed students to explain how [the film techniques] affect your
understanding of the mood, plot, characters, and themes, very few students did so. In
retrospect, the worksheet should have been designed in such a way to force students to
articulate the connection between the film technique and the mood/plot/characters/themes
(e.g., _______________ impacted my understanding of ____________________ by
_________________). See Appendix H for a revised version of the Film Clip Analysis
sheet, which was not used with students. The downside of such a worksheet is that it
would prescribe not only a way of thinking, but also a way of formulating sentences.
Perhaps an even better assessment would be to respond informally on a piece of loose-
leaf to the prompt: During viewing: Identify as many film and literary techniques as you
can. After viewing: explain how each technique impacted your understanding of the
mood, plot, characters, or themes. Providing more freedom not only encourages students
to take more intellectual risks, but also assess their ability to articulate their ideas.

Because these early assessments proved to be too rigidly structured, the teacher choose to
structure the individual assessments for the Create Your Own Adaptation group project
so that students had more freedom to express their ideas. For each role, the teacher
provided a list of questions that needed to be answered fully on loose-leaf paper (to be
handed in the day of the project and presentation). The final prompt for each role outlined
the points that each individuals presentation needed to address.

This more loosely structured assessment did indeed yield more creative responses from
students (Appendix F). For example, the nine scriptwriters, each collaborating with a
different group, produced nine very different approaches to Shakespeares original text.
Some adapted Shakespeares original lines to different setting (such as a frat party or a
grocery story) to produce a comedic effect. Others worked together with their group
members on the tone and pacing of the lines to achieve the desired mood. The
cinematographers, set designers, and lighting & sound engineers had to draw more
heavily from the film and literary terms from the unit to produce a detailed plan of how
this scene, as written in the script, would be made if money were not an issue.

Unfortunately, several students did not meet every requirement outlined on the
instructions for their chosen role. For example, many students wrote only 1-2 sentences
for their reflection when the instructions call for 1 well-written paragraph in response
to a series of related questions requiring them to refer to specific choices from their plan
Naitell 18
and how they impacted the mood, plot, characters, and themes (see Appendix F). Perhaps
these students struggled to produce a paragraph because the open-ended prompts required
students to reflect on their own creative work. In retrospect, showing examples of student
work or modeling the process of how one could write a one-paragraph reflection on their
adaptation plan would have been an effective way to give students direction without
stifling their creativity.

In spite of this shortcoming, the creative, student-centered nature of these formative
assessments encouraged students to collaborate, communicate, and take intellectual risks
in their analyses and adaptation choices. Every assessmentaside from the pretest and
the analysis of the Kurosawa songgave students a chance to express their
interpretations and ideas in words (either with a partner or with their small group). Even
more importantly, the formative assessments culminated in a group project in which all
students collaborated with others to make an original adaptation, wrote a plan and
reflection based on their individual roles, performed their adaptation, and presented their
individual choices. In working toward and completing these creative projects, students
learned in ways that could not be captured by the summative assessment on film and
literary terms and exercised important 21
st
century skills: creativity, collaboration, self-
direction, and analysis.



























Naitell 19
Appendix A: Pretest on Film and Literary Terms

Film and Literary Terms: Diagnostic Test

Matching: Match the vocabulary term to the appropriate definition
____1. Panning shot A. Splicing together two shots with an object or idea that illustrates the connection
____2. Rising action B. Shot of head and shoulders, usually used to show emotion. Draws attention to face or object
____3. Tracking shot C. Shot looking down on person/object, making them look vulnerable.
____4. Close up D. Results or effects of the climax of a literary work
____5. Low angle shot E. Process of how shots are put together
____6. Long shot F. The manner in which an author develops characters and their personalities
____7. Dissolve G. The essential background information at the beginning of a literary work
____8. Shot H. A lighting scheme with strong contrasts between the brightest and darkest parts of an image
____9. Match cut I. the vantage point or perspective from which a literary work is told
____10. Suspense J. Hints of what will come later on in the story
____11. Editing K. Shot that shows background, establishes where you are
____12. Characterization L. The transfer of a written work to a film or stage performance
____13. Denouement M. The resolution of a literary work where loose ends are tied and questions are answered
____14. High angle shot N. Shot in which the camera follows the action, moving along tracks laid for that purpose
____15. Foreshadowing O. Shot looking up at someone/thing, making them appear powerful
____16. Medium shot P. Feeling of tension that develops as a story progresses
____17. Low-key lighting Q. Transition between shots: first image gradually disappears, second image gradually appears
____18. Mise-en-scene R. The development of conflict and complications in a literary work
____19. Flashback S. Splicing together two shots without any apparent match between them
____20. jump cut T. A lighting scheme with very few shadows
____21. Point of view U. Part of a film presented without any editing, as seen from a single camera's perspective.
____22. High-key lighting V. Returning to an earlier point in time for the purpose of making the present clearer
____23. Exposition W. Shot in which the camera moves slowly across from side to side from a fixed axis
____24. Adaptation X. Everything that is put into a scene: props, costumes, facial expressions, color, etc.
____25. Falling action Y. Shot showing torso and some background

Multiple Choice: Choose the best response.
26. A camera steadily follows alongside a horse galloping through a forest. This shot is an example of
A. hand held shot B. tilt shot C. jump cut D. tracking shot
27. Which of these elements is NOT considered a part of the mise-en-scene of a film?
A. props B. lighting C. shot editing D. acting
28. If a director wants to highlight a connection between two separate shots, what transition would she use?
A. match cut B. dissolve C. mise-en-scene D. jump cut
29. Which of the following best describes the denouement of Sir Gawain and the Green Knight?
A. Sir Gawain accepts the Green Knights challenge.
B. Sir Gawain sets out in search of the Green Chapel.
C. Sir Gawain flinches just before the Green Knight swings at his neck.
D. Sir Gawain discovers that the Green Knight was really the lord of the castle in disguise.
30. Which film technique would best bring out the light vs. darkness motif in Macbeth?
A. Verisimilitude B. high-key lighting C. low-key lighting D. Crane shot
31. To make a character appear more powerful, a director would most likely use
A. a long shot B. a panning shot C. a high angle shot D. a low angle shot
32. If a director wants to give background information, but doesnt want a lull in the action, she may use
A. Characterization B. Denouement C. Flashback D. Suspense
33. To showcase a characters emotional reaction to horrible news, a director may use
A. panning shot B. close up C. tracking shot D. high angle shot
34. To make a character seem isolated in a large empty street, a director would most likely use
A. Mise-en-scene B. close up C. Medium shot D. Long shot
35. To emphasize a characters power, a director would most likely use
A. eye level shot B. low angle shot C. high angle shot D. panning shot
Naitell 2u

Appendix B: Film and Literary Terms Sheet: Guided Notes
!"#$ &'($):
!"#$%$&%#'$&$: ________________________________________________________________________________
______________________________________________________________________________________________
high-key lighting: ________________________________________________________________________________
low-key lighting: _________________________________________________________________________________

Shot ________________________________________________________________________________________
()*$+) -+)*"&.:
Long shot _____________________________________________________________________________________
Medium shot __________________________________________________________________________________
Close up _____________________________________________________________________________________
()*$+) )&./$#:
Eye level shot ________________________________________________________________________________
high angle shot ________________________________________________________________________________
low angle shot _________________________________________________________________________________
()*$+) *01$*$&2:
panning shot ________________________________________________________________________________
tracking shot _________________________________________________________________________________

34"2"&. ______________________________________________________________________________________
dissolve _____________________________________________________________________________________
______________________________________________________________________________________________
jump cut _____________________________________________________________________________________
match cut ____________________________________________________________________________________

*"&'(+(, -'($):
5/02 _________________________________________________________________________________________
Exposition ____________________________________________________________________________________
Rising action __________________________________________________________________________________
Falling action __________________________________________________________________________________
Denouement __________________________________________________________________________________



Foreshadowing ________________________________________________________________________________
Suspense ____________________________________________________________________________________
Flashback __________________________________________________________________________________

627$+ /"2$+)+8 2$+*#
Characterization _______________________________________________________________________________
Point of View __________________________________________________________________________________
Adaptation ____________________________________________________________________________________
Naitell 21


Appendix C: Film Clip Analysis Worksheet
Film Clip Analysis: As you watch, identify specific film techniques. Then, explain how
they affect your understanding of the mood, plot, characters, and themes (you dont
have to fill every box for #1 and #2, but you should for #3 and #4).
Techniques Mood Plot Character Theme
#1
#2
#3
#4

#5

Naitell 22
Appendix D: Kurosawas Song Response Questions
Consider this song/poem (translated into English). Then answer the questions
below using your copy of Macbeth for additional support.

Strange is the world
Why should men
Receive life in this world?
Men's lives are as meaningless
As the lives of insects
The terrible folly
Of such suffering
A man lives but
As briefly as a flower
Destined all too soon
To decay into the stink of flesh
Humanity strives
All its days
To sear its own flesh
In the flames of base desire
Exposing itself
To Fate's Five Calamities
Heaping karma upon karma
All that awaits Man
At the end
Of his travails
Is the stench of rotting flesh
That will yet blossom into flower
Its foul odor rendered Into sweet perfume
Oh, fascinating
The life of Man
Oh, fascinating


1) What is the tone of the speakei.



2) Which chaiactei(s) fiom ,-./01+ woulu be most likely to say these woius. At
what point in the stoiy. (explain why using the ,-./01+ text foi suppoit)




S) Bow uo the themes of this song paiallel those of ,-./01+. Look thiough the
Nacbeth text to finu specific lines that iun paiallel to this song.

Naitell 2S
Appendix E: Create Your Own Macbeth Adaptation Group Instructions and Rubric
Create Your Own Macbeth Adaptation:

As a gioup, plan anu peifoim an auaptation of ,-./01+. You may auapt a scene, oi
small paits of uiffeient scenes, but you must make it fit into a 4-6 minute
peifoimance (not incluuing the intiouuction anu post-peifoimance lectuies)

Rathei than piouucing a Nacbeth that takes place in meuieval Scotlanu, think of a
new setting. Think of a &02 context that biings out the impoitant plot elements,
themes, motifs, chaiacteiization. You may mouify Shakespeaie's oiiginal language,
but you must use (anu cite) at least 1S lines fiom the oiiginal play.

S3:"<":$67 T/%@ (Su points): Each gioup membei must.
1) Choose at least 1 iole (Sciiptwiitei, Set Nanagei, Cinematogiaphei, Light & Sounu Engineei)
2) Fulfill all iequiiements foi theii assigneu iole.
S) Play a significant acting iole in the peifoimance.
4) uive eithei an intiouuction oi post-lectuie (explaineu in ioles)

U%/$. >/%@ (4u points): Youi peifoimance must.
1) Paiallel the plot of ,-./01+ (specific moment fiom oiiginal text)
2) Bevelop at least 2 themes thiough motifs anu othei liteiaiyfilm techniques
S) Be well ieheaiseu!
4) Be 2-6 minutes
S) Incluue at least 1S lines fiom the oiiginal play

S points of Extia Cieuit will be given to gioups that biing in.
1) at least 1 piop
2) at least 1 costume
S) musicsounu effects

2u points
S
of Extia Cieuit will be given to gioups who actually film theii auaptation.
To ieceive the EC, youi film must incluue.
1) At least 2 minutes of viueo
2) All 4 gioup membeis acting out paits
S) AT LEAST S shots (euiteu togethei with tiansitions)
4) At least 1 piop & 1 costume
S) At least 1 sounu effectmusic, at least 1 lighting effect



Bave fun, anu be cieative! This is youi chance to cieate an oiiginal inteipietation of
Shakespeaie's text.


S
If youi gioup ieceives the 2u points extia cieuit, you may not also ieceive S points EC foi biinging
in piopscostumesmusic
Naitell 24


Rubric for Group Performance

CATEGORY 4 3 2 1
Teamwork
All students
contribute to the
discussion and all
are listened to
respectfully. All
team members
contribute a fair
share of the
work.
Most students
contribute to the
discussion and
are listened to
respectfully. All
team members
contribute a fair
share of the work.
Most students
contribute to the
discussion and
are listened to
respectfully. All
team members
contribute a fair
share of the work.
Meetings are not
held AND/OR
some team
members do not
contribute a fair
share of the work.
Parallel Plot
The adaptation
contains several
creative parallels
to the original
text.
The adaptation is
based on the
original text, but
the plot
development
isn\'t clear.
The adaptation
takes lines from
Shakespeare, but
they appear
irrelevant.
No apparent
connection to the
original plot
Themes/motifs
Adaptation
develops at least
2 themes through
motifs and
creative film
techniques
Adaptation
develops at least
2 themes through
film techniques,
but no motifs are
apparent.
Adaptation
develops 1 theme,
but not through
any particular film
techniques.
Adaptation does
not develop any
themes or motifs.
Rehearsal
All actors
obviously
rehearsed their
performance and
worked together
to make
transitions
smooth
Actors worked
together, but
some appear not
to have
rehearsed.
Not all group
members worked
together on
preparing for the
performance.
Most group
members did not
rehearse for their
performance.
Time
guidelines
meets the
required time
restrictions (4-6
min).
at least 3 minutes
long
at least 2 minutes
long
not even 2
minutes long.
uioup giaue: _________ 2u x2 = ________ 4u

uioup membei names:

Sciiptwiitei: ____________________________________ acting iole: _____________________________
Set Nanagei: ____________________________________ acting iole: _____________________________
Cinematogiaphei:________________________________acting iole:_______________________________
Light & Sounu Engineei: _____________________________acting iole:__________________________

Naitell 2S
Appendix F: Create Your Own Adaptation Instructions for Individual Roles

Each group was given these four half-sheets and instructed to decide who would fulfill
what roles. For a group of three, one member was expected to fulfill two roles.

Role #1:

Scriptwriter: You are in charge of scripting your Macbeth adaptation. You must submit:
1) Detailed script of adaptation (1-2 pages) (30 points): You may adapt a single scene or parts of different
scenes, but your script must include
a. Character bios: List each character name, the group member who will act out this role, and the
corresponding Macbeth character. Then, write a short backstory for the character and how s/he is
similar to / different from Shakespeares original.
b. You must use AT LEAST 15 lines of Shakespeares original language (HIGHLIGHT these lines
and include citation of Act, scene and line number from what you take)
c. Stage directions: entrances, exits, and descriptions of actions.
2) Reflection on choices (1 well-written paragraph) (10 points): In your short scene, how did you manage to
develop the plot and the characters? What specific language/actions did you use to develop themes?...the
mood? How does your script differ from Shakespeares original text? How does it stay true to the original? Be
specific. You must briefly present this reflection as part of the introduction.
3) Introduction to performance (10 points): Before your performance, you must introduce
a. The scene(s) from Macbeth that you chose to adapt
b. The character names of your adaptation, and how they parallel Macbeth characters
c. Where your scene differs from the original text and how it stays true to it



Role #2:


Set Designer: You are in charge of planning and executing the setting, props, costumes, and all other physical objects
included in your story. You must submit
1) Description of setting (10 points): write 1 substantial paragraph explaining the time and place of your
Macbeth adaptation. Work with the scriptwriter to make sure that the setting and premise are original, but
also parallel to Shakespeares Macbeth.
2) Staging plan (20 points): write a detailed explanation of how you will represent this setting in your film.
Include specific details about
a. spacing/layout of set (5 pts)
b. costumes/props used (5 pts)
c. type of environment (indoor/outdoorgive details) (5 pts)
d. dcor (furniture, decorations, colors) (5 pts)
3) Reflection on choices (1 well-written paragraph) (10 points): How do your specific choices for the mise-en-
scene set the mood? How do they influence the audiences understanding of the characters and the plot?
How do they develop themes? How did you manage to tie your set to Shakespeares original text? Be
specific.
4) Introduction to Performance (10 points): Before your performance, you must introduce
a. The setting/premise of your adaptation (e.g., Macbeth on Mars, fights aliens)
b. The details of your set for the scene (if it were filmed)
c. How your choices affect mood, plot, theme





Naitell 26

Role #3:


Cinematographer: You are in charge of the camerawork and editing decisions. As such, you must submit
1) Editing plan: based on the script, write a detailed description of
a. (10 points) EACH shot that will be used (type, duration, and angle of shot)
b. (10 points) EACH transitions between shots and its type (cut, dissolve, etc.). Use your film terms
guide for support.
c. (10 points) include a description of the exact minutes/seconds into the recording at each transition
(example: transition #3: jump cut from Macbeth to Lady Macbeth (~1 min, 20 sec into film))
2) Reflection on Choices (1 well-written paragraph) (10 points): At the end of the Editing plan, write a 1-
paragraph reflection on your choices for your editing. How does your choice of shots and transitions affect
the development of mood, plot, characters, and themes? How was your work inspired by Shakespeares
text? Be specific.
3) Post-Performance lecture (10 points): After your groups performance, explain to the class
a. The types of shots / transitions you would use if you were filming it.
b. How these techniques contribute to mood, plot, theme/motifs and characterization?










Role #4:


Light and Sound Engineer: you are in charge of the lighting, sound, and special effects of your adaptation. As such,
you must submit.
1) Lighting & special effects Plan (15 points): a 1-paragraph description of your choices for lighting. What type
of lighting would you use for each moment (reference the exact line in the script for each moment)? Why?
Would you use special effects? How do these decisions affect the mood? What motifs can you develop
through lighting?
2) Sound/music plan (15 points): What specific sound effects will you use during your adaptation (reference the
exact line in the script for each effect)? What kind of music would you have in the background? Will the
characters be able to hear the music (diagetic music) or will it just be for the audience to hear? What effect
do these sounds have on mood, plot, characterization, and theme?
3) Reflection on choices (1 well-written paragraph) (10 points): How did your choices for light and sound help to
develop the mood? the themes? the characters? the plot? How do your choices tie back to Shakespeares
text? Be specific.
4) Post-performance lecture: after your groups performance, explain
a. Your choices for lighting/special effects, sound/music
b. How do these elements add to the mood? How would they change the way the audience sees the
characters? How did you use motifs to develop themes?







Naitell 27
Appendix G: Final Test on Film and Literary Terms
Film and Literary Terms Test

Matching: Match the vocabulary term to the appropriate definition
____1. Mise-en-scene A. Splicing together two shots with an object or idea that illustrates the connection
____2. High-key lighting B. Shot of head and shoulders, usually used to show emotion
____3. Low-key lighting C. Shot looking down on person/object.
____4. Shot D. Results or effects of the climax of a literary work
____5. Long shot E. Process of how shots are put together
____6. Medium shot F. The manner in which an author develops characters and their personalities
____7. Close up G. The essential background information at the beginning of a literary work
____8. High angle shot H. A lighting scheme with strong contrasts between the brightest and darkest parts of an image
____9. Low angle shot I. the vantage point or perspective from which a literary work is told
____10. Panning shot J. Hints of what will come later on in the story
____11. Tracking shot K. Shot that shows background, establishes where you are
____12. Editing L. The transfer of a written work to a film or stage performance
____13. Dissolve M. The resolution of a literary work where loose ends are tied and questions are answered
____14. Jump cut N. Shot in which the camera follows the action, moving along tracks laid for that purpose
____15. Match cut O. Shot looking up at someone/thing
____16. Exposition P. Feeling of tension that develops as a story progresses
____17. Rising action Q. Transition between shots: first image gradually disappears, second image gradually appears
____18. Falling action R. The development of conflict and complications in a literary work
____19. Denouement S. Splicing together two shots without any apparent match between them
____20. Foreshadowing T. A lighting scheme with very few shadows
____21. Suspense U. Part of a film presented without any editing, as seen from a single camera's perspective
____22. Flashback V. Returning to an earlier point in time for the purpose of making the present clearer
____23. Characterization W. Shot in which the camera moves slowly across from side to side from a fixed axis
____24. Point of view X. Everything that is put into a scene: props, costumes, facial expressions, color, etc.
____25. Adaptation Y. Shot showing torso and some background

Multiple Choice: Choose the best response.
26. A camera slowly turns from left to right to reveal the layout of a large room. This shot is an example of
A. hand held shot B. tilt shot C. panning shot D. tracking shot
27. Which of the following best describes the denouement of Macbeth?
A. Macbeth meets the three witches for the first time.
B. Macbeth kills King Duncan.
C. Macbeth sees the apparitions.
D. Just before getting killed, Macbeth learns that Macduff was not born of a woman.
28. If a director wants to keep the audience on edge, she must try to create
A. Characterization B. Denouement C. Flashback D. Suspense
29. Which film technique would create a happy, light-hearted mood?
A. Verisimilitude B. high-key lighting C. low-key lighting D. low angle shot
30. To showcase a characters hand gestures, a director would most likely use
A. Mise-en-scene B. close up C. Medium shot D. panning shot
31. A director wants to emphasize the strength of a character after he wins a battle. A good shot would be
A. a long shot B. a panning shot C. a high angle shot D. a low angle shot
32. Which of these elements is considered a part of the mise-en-scene of a film?
A. shot editing B. lighting C. special effects D. music
33. A director wants a character to appear weak and helpless. A good shot would be
A. eye level shot B. low angle shot C. high angle shot D. panning shot
34. In 2001: A Space Odyssey, Stanley Kubrick transitions from shot of a bone spinning in the air to a shot of a
spinning space station of a similar shape. This technique is best described as
A. match cut B. dissolve C. mise-en-scene D. jump cut
35. To showcase Macbeths emotional response to hearing the prophecy, a director may use
A. panning shot B. close up C. tracking shot D. high angle shot
Naitell 28
Appendix H: Revised Film Clip Analysis Sheet (not used with students)
Film Clip Analysis: As you watch, identify specific film techniques (use your Terms list
for support). Then, explain how they affect your understanding of the mood, plot,
characters, and themes.

Clip #1
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________

Clip #2
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________

Clip #S
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________

Clip #4
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________

Clip #S
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________
_______________ impacted my understanding of ____________________ by
_______________________________________________________________________