Liston College

English Achievement Standard 90856 (1.11)

3 credits

Show understanding of visual and/or oral text(s) through

close viewing and/or listening, using supporting evidence

Planning booklet 2017

Achievement Achievement with Merit Achievement with Excellence

Show understanding of visual Show convincing understanding of Show perceptive understanding of

and/or oral text(s), through close visual and/or oral text(s), through visual and/or oral text(s), through
viewing and/or listening, using close viewing and/or listening, using close viewing and/or listening, using
supporting evidence. supporting evidence. supporting evidence.

Instructions:

1. Select a short section of the film studied in class that is significant in terms of theme or idea.

2. Complete an annotated storyboard of your chosen scene. Be as detailed as possible. The quality of
your drawing is not assessed.

3. Complete the table analysing specific film techniques from your scene and how they are used to
develop a theme or idea.

4. Select at least four of the techniques you used in task three that clearly illustrate your chosen
theme/idea.

5. Using the information gathered in tasks two and three, write a structured essay explaining how at
least four techniques work to develop your understanding of a theme/idea in the text. You must
have specific examples to support your points and clearly show understanding of the purpose of
these techniques. You will be assessed on the perceptiveness of your understanding and your selection of
supporting evidence.

Due Date: Friday September 15 2017

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TITLE:_________________________________________________________________
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 Technique Eg. dialogue,
costume, setting, camera
angle/shot, body language.
Lighting
Body Language
Mid two-shot
Flashback
Technique e.g. dialogue,
costume, setting, camera
angle/shot, body language,
diegetic and non-diegetic
sound, special effects etc..
Example / supporting evidence
for your explanation.
The predominant colour of the light
in the scene in Dennys room is
yellow and because the characters
are partially back-lit from the
window behind them, it creates a
hazy effect.
Denny is physically affectionate
with his younger brother, hugging
him and giving him his full, positive
attention while talking to him.
Gordies body language is also
focused on enjoying the attention
from his brother and his positive
words.
Both the brothers are seen in the
frame as they talk on the bed, with
the camera cutting between the
POV of one character to the other,
whilst maintaining both of them in
the frame.
The use of a flashback scene shows
the viewer one of the reasons why
Gordie is at times a melancholy
character. We see how the loss of
his brother is very recent and raw
for Gordie; its still very fresh in his
mind and he treasures the loving
memories he has of his brother.
Example / supporting evidence
for your explanation.
Theme / idea Directors purpose
reflected in the use of Why has the director
this technique. impact
This helps the audience u
time of the film, but rath
Coming-of-age of Gordies relationship w
longer alive and how his
loss. Hes been made to g
This further demonstrate
close bond they share. It
Dennys passing, particul
Brotherhood body language of his fath
We see how much Gordi
The focus is on their rela
to see each brother from
Brotherhood closeness. We see that th
mutual bond of brotherly
This scene highlights tha
of a loved one at a young
mature to come-of-age
Coming-of-age
Theme / idea Directors purpose
reflected in the use of Why has the director
this technique. impact
Plan your essay here.

STAGA Introduction:

Title and Director:

Description of scene:

Theme(s):

Techniques:

PEEL Paragraph #1:

POINT (technique):

eXplanation (how it shows theme):

EXample:

Interpretation (directors purpose):

LINK to Point of paragraph or Essay Topic (this shows us that/this links to etc)
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________

PEEL Paragraph #2:

POINT (technique):

eXplanation (how it shows theme):

EXample:

Interpretation (directors purpose):

LINK to Point of paragraph or Essay Topic (this shows us that/this links to etc)
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________

PEEL paragraph #3

POINT (technique):

eXplanation (how it shows theme):

EXample:

Interpretation (directors purpose):

LINK to Point of paragraph or Essay Topic (this shows us that/this links to etc)
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________

Concluding Paragraph: MAT main points/author (director)/title

Summary of your points from the essay (theme(s) and techniques):

Purpose of this scene:

 Evidence/Judgements for Achievement
The student shows understanding of visual text by:
identifying and explaining four (or more) text
aspects in terms of the meanings and effects
created
supporting their explanation of each aspect with
specific and relevant details from the text.
Text aspects include:
purposes and audiences
ideas (e.g. notable or major themes, attitudes,
beliefs, experiences, feelings, insights, meanings,
opinions, thoughts, and understandings within the
text)
language features and structures (e.g. part text,
whole text, narrative)
text conventions (appropriate oral and/or visual
conventions, e.g. camera shots/angles, rhetorical
devices/tripartite structures).
Responses may be presented in an appropriate oral,
visual, and/or written form.
This example shows a good understanding of 4
significant aspects of a scene from Twilight: sound
effects, gesture and movement, camera shots and
makeup. In this extract, the introduction and the use of
sound effects and camera shots are explained.
In the film Twilight the characters of Edward and Bella
are introduced early in the film, the purpose of this
scene is to hint at Edwards mysterious origins and
the tension that foreshadows the relationship they will
develop. This shows us that the relationship that will
develop between these two characters will be very
important throughout the movie. Sound effects,
gesture and movement, camera shots and make up
are used by the director to show this.
Sound effects are used to show the tension that
develops straightaway between Edward and Bella. All
you can hear in the scene is background noise of the
teacher talking to the class. This shows the silence
Evidence/Judgements for achievement with
Merit
The student shows convincing understanding of
visual text by:
identifying and explaining how four (or more) text
aspects work together to create meaning
supporting their explanation of each aspect with
specific and relevant details from the text.
Text aspects include the following:
purposes and audiences
ideas (e.g. notable or major themes, attitudes,
beliefs, experiences, feelings, insights, meanings,
opinions, thoughts, and understandings within the
text)
language features and structures (e.g. part text,
whole text, narrative)
text conventions (appropriate oral and/or visual
conventions, e.g. camera shots/angles, rhetorical
devices/tripartite structures).
Responses may be presented in an appropriate oral,
visual, and/or written form.
This example shows convincing understanding of 4
significant aspects of a scene from Twilight: set
composition, make up, gesture and dialogue. Although
the connection between gesture, tension and the
foreshadowing of Edward and Bellas relationship is
perceptive, the understanding of the effects of the use
of dialogue and set composition and make-up do not
sustain the perception.
In this extract, the introduction and the use of set
composition and make-up working together are
explained convincingly.
In the film Twilight directed by Kathryn Hardwicke,
Edward and Bella meet in a biology lab. In this scene
Edward and Bella are forced to sit together. Kathryn
Hardwicke uses set composition, gesture, dialogue,
and make up to portray the mystery of Edwards
origin, create the tension and awkwardness between
Evidence/Judgements for achievement with
Excellence
The student shows perceptive understanding of visual
text by:
identifying and explaining how four (or more) text
aspects work together to communicate ideas about
the text in relation to the writers purpose as well as
wider contexts, such as human experience, society
and the wider world
supporting their explanation of each aspect with
specific and relevant details from the text.
Text aspects include the following:
purposes and audiences
ideas (e.g. notable or major themes, attitudes,
beliefs, experiences, feelings, insights, meanings,
opinions, thoughts, and understandings within the
text)
language features and structures (e.g. part text,
whole text, narrative)
text conventions (appropriate oral and/or visual
conventions, e.g. camera shots/angles, rhetorical
devices/tripartite structures).
Responses may be presented in an appropriate oral,
visual, and/or written form.
This example shows perceptive understanding of how 4
significant aspects of a text (gesture, facial expression,
sound effects and camera shots) communicate ideas
about the text in relation to the directors purpose. In this
extract, we see the students perceptive understanding of
the use of camera shots and gesture. The explanations
of facial expressions are precisely described for us
(brooding): the answer moves from an understanding of
the directors intent, showing the tension Edward has
regarding Bella, to a convincing understanding
reinforce the disgust, to a perceptive understanding
as well as introducing the mystery of the Cullens
In the film Twilight directed by Kathryn Hardwicke, the
character of Edward Cullen the vampire, is introduced to
us in a scene in a Biology lab. This scene is also where
between Edward and Bella as there was no dialogue
in this scene. This shows that they felt very
uncomfortable around each other.
Camera shots are used to enhance the distance that
Edward tries to put between him and Bella on the
small desk. The camera frame never has both Edward
and Bella in it. It always has only one of them and
usually they had spaces next to Bella and Edward.
Final grades will be decided using professional judgment based on a holistic examination of the evidence provided against the criteria in the Achievement
Standard
Edward and Bella and to introduce the idea of
Edwards difference.
Hardwicke uses set composition to introduce the
idea of Edward being otherworldly. In one shot, with
Edward beside the window, a stuffed owl is placed
behind him so that it appears as though white wings
are sticking out of his Edwards back. The wings are
white which makes him appear angelic. In this scene
he is portrayed as a good rather than a bad guy.
However the make-up that Edward wears has a
different effect. It makes him look extremely pale with
dark under eyes The effect of this is that Edwards
mysterious origins are hinted at. His strange,
unfamiliar appearance sets him apart from everyone
else, and causes confusion in our understanding of
him.
the two protagonists meet for the first time. Hardwicke
uses this scene to create tension between the
protagonists to foreshadow the relationship they will
have. She uses four techniques to show this - gesture,
facial expression, sound effects through lack of dialogue
and a prolonged series of camera shots.
Hardwicke uses gesture to show tension. The tension is
shown in Edwards hands as he moves a petri dish
towards Bella, slowly and reluctantly, as he leans away
from her, hand over his nose. This very common reaction
to something we feel is unpleasant has the effect of
showing the tension Edward has regarding Bella, and
also the disgust he feels towards her. Later In the movie
we realise that this scene shows his self-control at not
attacking Bella. Hardwicke also uses facial expression
when Bella moves upwind of Edward and in the close up
shots of his intense, brooding staring. These facial
expressions reinforce the disgust felt by Edward for
himself, for his desire for her blood. This disgust also
causes the viewer to wonder about his strange reaction
towards Bella, as well as introducing the mystery of the
Cullens. Later in the movie we remember this scene as it
foreshadows Edwards self-control and self-denial.
The Language of Film
STRUCTURE OF A FILM

Shot
A single 'run' of the camera. This is the basic unit from which a film is constructed. The length (or duration)
of a shot depends upon:

a. its purpose i.e. establishing a place; to show action; to show reaction

b. the pace (or tempo) of the sequence in which it occurs.

Sequence
A group of shots depicting one action, or, which seems to belong with or depend upon each other. (Say 3
to 18 shots).

Scene
A group of sequences, or, for short scenes, a group of shots, which:

c. depict an event in the story and

d. occur in one place.

A scene is generally a larger unit than a sequence. Sometimes a group of shots can be classified as either.

TYPES OF SHOT

Long Shot [L.S.]

A distance shot in which a setting, and not a character, is the emphasis. this is generally used to establish
the place in which action will occur, hence the term establishing shot. Given its function, a long shot is
often used at the beginning of a scene or sequence, and may be combined with a panning movement of
the camera to show us a wider area.

Mid Shot [M.S.]

A middle distance shot that focuses our attention on a particular subject. With a mid shot the camera is
close enough to pick up detail, though still far enough away to be able to follow the subject as he/she/it
moves. The mid shot, therefore, is commonly used to show action e.g. as in a fight scene.

Close Up [C.U.]
A close shot of an object or person, the aim being to focus our attention on a particular detail. Close ups of
objects may serve as the inpoint to a new scene, depicting a new fact or location in the story. Close ups of
a person have a number of different functions:

a. in an establishing sequence a close up of someone suggests that he/she is a main character

b. the first close up of a character (in a sequence of shots), establishes point of view e.g. who is watching
an event

c. a close up is most commonly used to show the reaction of a character, i.e. a reaction shot.
CAMERA MOVEMENTS

Pan: Movement from side to side from a stationary position.

Tilt: Movement up or down from a stationary position.

Tracking: The camera is not stationary but moves to follow a moving object or person. The camera is
mounted on a moving device such as a rail platform, a dolly or a vehicle.

Zoom Out: Movement outwards away from a subject.

Note: The speed of a camera movement (from very fast to very slow) can dramatically alter its effect.

MOVING FROM ONE SHOT TO ANOTHER

Cut
The ending of a shot. If the cut is a jerky movement, which seems a little inconsistent with the next shot it
is called a jump cut.

Fade In or Out
The image appears or disappears gradually. It brightens to full strength over a full second, or darkens to
fade out. The fade is often used as a division between scenes.

Dissolve
One image fades in while another fades out so that for a few seconds the two are superimposed.

Inpoint
An image which starts the scene. Sometimes this inpoint is used to smooth the transition between scenes.
As the word suggests the inpoint takes us in to the next shot or scene by making a visual link (a related
object or shape) with the outpoint of the previous shot.

CAMERA ANGLES

In filming a shot a decision is made about the angle at which the camera is to be directed at a subject. High
and low angles may be used to influence our impression of a particular character.

A character filmed from a low angle will seem strong, powerful, tall, proud, etc... whereas if a high angle is
used the subject will appear weak, insignificant, vulnerable, small etc... Our impression of a structure or
object can be manipulated in a similar way.

A distorted angle may be used to make a scene more frightening, or to make the viewer feel anxious, or
queasy (especially if fast or jerky camera movement is also used).
EDITING

This is the process of assembling and splicing together the various shots which comprise a film. Underlying
the process is a technique which can be called pairing, i.e. a story is built up by alternating one set of shots
with another.

There are common instances of pairing:

a. A conversation or confrontation between two characters. The shots alternate from one to the other,
angles may be used to suggest inferiority or superiority.

b. Shots of a character are alternated with shots of what he/she sees. The first shot of the character is
the P.O.V. (It establishes point of view i.e. who is looking).

c. Cross-cutting. A sequence of shots in which the alternation is between two different locations (e.g. A
burglar creeping into a house in which an unsuspecting victim lies sleeping). The sequence builds to a
climax and ends with the two things coming together.

The Editing Speed (or tempo) of a particular sequence is also an important consideration. Fast editing
involves fast cutting, i.e. the shots are 1 to 2 seconds long. Fast editing generates excitement and
anticipation as for example in a chase sequence. Slow editing (i.e. Shots are 3 to 10 seconds long), has the
opposite effect, calming and relaxing the viewer. Accordingly slow editing is a characteristic of love scenes.

Montage
The editing together of a large number of shots with no intention to create a continuous reality. A montage
is often used to compress time (a number of facts are established in one sequence). Films may begin with a
montage which establishes a particular time and place. With the absence of a visual relationship between
them, the montage shots are linked through a unified sound - either a voiceover or a piece of music.

OTHER TERMS

Soft Focus
A slightly blurred shot to make the subject seem more attractive, romantic, nostalgic or dreamlike.

Hand Held Camera

The tripod and dolly are deliberately abandoned in favour of this method when a director wants to create a
sense of anxiety or confusion, exploiting the unsteady movement of the camera. A hand held shot in which
a character is approached from behind usually suggests that someone is being followed and is about to be
'pounced upon'.
 Glossary of Film Terms

ambient sound background sound (not music): footsteps, bushes rustling FOLEY effects

aural bridge hearing the sound of the next shot before cutting to it - signals a transition

backlighting Light from behind a person or object, sometimes creating a halo effect.

body language The way our feelings are expressed through our body.

camera angle The angle at which the camera is pointed at a person or object (high, low, neutral
= eye-level). A camera tilted to one side so the horizon is on a slant is canted or
tilted (not to be confused with a tilt shot.]

close-up [C.U.] A camera shot that seems to bring us close to the person or object being filmed;
a shot of a persons face only is a close-up. + Extreme close-up [E.C.U.] or big
close-up [B.C.U.].

crane shot A shot taken from a crane (a kind of high angle shot).

cross-cutting The alternating of shots from two different sequences, often in different locales,
suggesting they are taking place at the same time.

cut The place where one shot as been spliced to another.

dissolve One image fades in while another fades out, so that they are superimposed for a
few moments.

dolly Any platform with wheels that allows the camera to be moved: dolly shot,
tracking or trucking shot.

editing The process of selecting, arranging and trimming the various shots to make up a
film.

establishing shot Usually a long-shot, it gives an overview of a scene so the audience is not
confused about what is happening and where.

flashback A return to a scene in the past. (A flash forward = a premonition of the future.)

genre A type of film (e.g. the western, sci-fi.).

long shot / L.S. A shot from a distance - it shows a person from head to foot, and perhaps more
than this.

medium (mid) [M.S.] A shot between a close-up and a long shot in the sense of closeness it
shot / M.S creates.

mise en scne Getting a scene together, the choices made about the details of the image; what
items will be in it, and how those items are to be presented.

over-shoulder A camera position often used in dialogue scenes.

shot

pan The movement of the camera when it swivels from left to right or right to left
point-of-view [POV shot] A shot in which the camera is associated with the eyes of a character
shot (this is what s/he sees).

reaction shot A shot that shows a persons reaction to what happened in the previous shot. (It
is known as a noddy if the person is merely nodding, like a television
interviewer!)

reverse angle A shot from the opposite side. When two people are talking, there is often a
shot and reverse shot alternation.

shot A film is made up of many different shots. During the shooting of a film, a shot
ends when the camera is turned off. Each shot involves a different camera set-
up.

sound effects Sounds other than words.

special effects Creating illusions by the use of trick photography, miniature models and various
.
[SFX] types of equipment. A bomb can explode; a flying saucer can appear etc, thanks
to SFX.

subjective shot A point of view shot, sometimes distorted to emphasise the characters state of
mind.

tilt shot The stationery camera starts at the top of an object/figure and scans down to
the bottom [TILT DOWN] or at the bottom and scans to the top [TILT UP]. Only
the lens moves; when the whole camera is lifted = crane shot.

tracking shot the camera moves on a dolly, enabling it to follow people who are moving
along.

two-shot A shot in which two people are shown (cameramen also speak of one-shot and
three-shot).

voice over [V.O.] Commentary by an unseen narrator.

wipe An optical effect in which one image appears to push the previous image off the
screen.

zoom A lens that can be adjusted from wide-angle to telephoto. Such a lens can
zoom in or zoom out (seem to move closer or further away from an object)

REMEMBER, IN YOUR ESSAY, THAT DIRECTORS USE THE TECHNIQUES

ABOVE TO MAKE A POINT. YOUR JOB IS TO IDENTIFY WHAT THEY ARE
TRYING TO TELL US (THE VIEWER) AND WHAT TECHNIQUES THEY HAVE
USED TO DO THIS. IDENTIFYING THE DIRECTORS PURPOSE IS CRUCIAL