Powerpoint Templates
Bridging Visual and Literary Analytical Skills
Mark Wynn
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Bridging Visual and Literary Analytical Skills Mark Wynn Powerpoint Templates Critical analysis is widely considered the most difficult skill to instill in beginning writers, but also the most important. Film analysis as a model to
Powerpoint Templates
Mark Wynn
Critical analysis is widely considered the most difficult skill to
instill in beginning writers, but also the most important.
Film analysis as a model to literary and linguistic analysis
has proven both successful and popular among students and instructors.
Unfortunately, in addition to problems of accessibility, such
instruction relies heavily on an instructor’s ability to model abstract principles and skills through lecture and class discussions.
This creates a hurdle as, although such modeling is easier
for the student to grasp, it is harder for the teacher to present.
However, as the availability of online
streaming and technology in the classroom increases, and the fact that cinematic culture is a deep and widely shared experience, a greater application
To help students bridge the gap between
visual and literary analysis, this presentation will introduce various approaches to using film analysis as well as a discussion of some common pitfalls.
IT HELPS TO REMEMBER THAT THERE WAS A TIME WHEN NO ONE ON THE PLANET COULD DRAW THREE-DIMENSIONALLY. IT WAS MUCH THE SAME WITH STORIES.
THE FIRST NOVEL INTRODUCED
If we take ‘reading’ as to view analytically, in the sense we say,
“you’re reading too much into that movie,” then we can agree to read non-traditional sources as texts.
Film represents an accessible and well-rehearsed format for
almost every student of every culture.
Its use as a tool or subject matter should not be underestimated
as it not only appeals to a wider array of learning styles, but also its accessibility and immediacy can greatly increase student motivation.
The goal is to help students focus on using
mechanical elements of a FILM (camera movements, framing and lighting), to linguistic elements of a TEXT (tense, voice and diction).
Students should come to see that the story elements
and non-fiction writings AND that in a composition class we are merely practicing defending our interpretations of those elements.
You are in a horror film.
What’s the worst thing you can do?
You are in a western. What color is your hat? You are in a war movie and have trouble following
You are in a comedy and you’ve been blamed for
something you didn’t do. Will it all work out in the end?
SCREAM 1
Don’t have sex.
Don’t drink or do drugs.
Never say “I’ll be right back.”
Don’t ask “Who’s there?”
Never investigate any strange noises. SCREAM 2 – Rules for the horror sequel
“The body count is always bigger.”
“The death scenes are always much more elaborate, with more blood and gore.”
“Never, ever under any circumstances assume the killer is dead.” SCREAM 3
The killer is going to “be superhuman. Stabbing won't work. Shooting won't work. In the third one, you have to cryogenically freeze his head, decapitate him, or blow him up. Anyone, including the main character, can die.”
“The past will come back to bite you in the ass … any sins committed in the past are about to break out and destroy you.”
Basically, “in the third movie, all bets are off.”
The Scream movies explicitly mention the rules.
When it comes to film, students are already informed
customers and the predictability of Genre Film is shown by the Box Office failure of the films that fail to follow formula.
However, outside of the generic structure itself, analysis
discussion.
And since time is precious in a composition class and
student attention finite, neither will the art-house combustion of complexity serve.
So, when introducing genre analysis, model films
should be primarily genre, but with a twist.
Films that successfully blend genres work best as
students are already well-practiced in arguing about whether a film is more western than comedy, more horror than sci-fi, or more romance than melodrama.
THOMAS SOBCHACK
Do not underestimate the power of keeping
the objective simple for students.
Students are often surprised to learn that
defining how something is is ANALYSIS.
Genre Analysis reinforces a more conscious
awareness of the structures and forms at work in whatever text.
Hopefully, structures and forms that will be
seen in the next assignment.
FOCUS TWO:
Students must accept films as products of a culture and whether or not a director intended an effect or detail is often irrelevant.
Although thousands of hands go into the production of a movie, we can accept that a director diligently and purposefully attended to every aspect of mise-en-scene.
However, we can NOT assume to know their assumptions or reasons, and researching such points will likely prove distracting to the student.
Accepting a film as a cultural object provides students with much needed (and often first time) practice in disconnecting an author from the text.
In other words, emphasize that the Message is there. You saw
interpretation.”
All films rely to some extent on iconographies.
Genre film can rely on them entirely. These readily readable images are ripe for discussion.
Students need to understand this concept, and an
acknowledgement of the history of cinematic bias and discrimination is usually a good place to start.
Develop the characterization of race and gender via
examples.
Blackface and Night of the Living Dead Tonto, Poncho and the RAVs Spartacus and The Celluloid Closet This Film Is Not Yet Rated and the glorification of rape
FOCUS THREE:
“Language is metaphor in the sense that it not only stores but translates experience from one mode into another. Money is metaphor in the sense that it stores skill and labour and also translates one skill into another. But the principle of exchange and translation, or metaphor, is in our rational power to translate all of our senses into one another.”
MCLUHAN, MARSHALL
“Saying is not blowing wind, saying says something,” but “the only trouble is that what it says is never fixed … a horse is not a horse.” CHUANG TZU “The only thing language communicates is language.”
PHIL INMANTRA
An introduction to critical thinking should focus
metaphoric constructs at work in whatever is under discussion.
This realization is often a student’s most difficult
that the fundamental values of a culture are metaphoric in nature (Lakoff).
In other words. Metaphors used in film are a
cultural construct that reflects said culture, much as the story line of generic film expresses its values, hopes and expectations. And students need practice in discussing these as such.
The heart of literary analysis is metaphoric
metaphoric language can be achieved through film analysis.
First, remind students to never underestimate
the fundamental importance of metaphor.
: Wilson in Cast Away,
gendered vehicles, behaving institutions, Wilfred in Wilfred and the entire pantheon of American animated anthropomorphization.
: racial and gender stereotypes, class and age clichés.
The ultimate lesson being that there is little meaning to
anything beyond what the audience assigns it. Remind students that the exercise is practice in using to describe subtle or complex things.
The awareness and acceptance of this notion if often a
student’s first kick start to ‘ ’ analysis. If a student can’t have at least a little fun thinking about a movie or is unable to see anything, then they’re probably in trouble academically speaking.
“ .”
NICK NAYLOR
Present an ambiguous image, such as the
ubiquitous vases/faces, and reinforce the notion of interpretability.
Present a famous or favorite painting from
the abstract schools (Cubism, Surrealism, Dadaism, etc.) which you’ve analyzed and ask the students to find evidence of your interpretation.
Provide additional images of paintings for
students to interpret in groups for presentation or journal assignments.
Commercials are ideal for a writing practice. Limit
students to a paragraph, so that they are forced to focus on details and avoid complicated elements.
What is key here is that the students present their
work to each other and become aware of the scope
This also opens up the door to examining
commercialism, capitalism and the media in general.
As always, it’s best to focus on the issues that the
students’ selections generate.
Most guides begin with a lengthy lexicon that
is needed to describe the production of film in detail.
Do not get lost in this. It is not a film class,
and students will rarely grasp such terms and use them successfully in a matter of weeks.
The focus is using familiar terms and concepts
and relating them to written texts.
Provide the terminology in a supplemental
glossary, give an example of how to use a few terms in an analytical statement, and move on.
Lighting
NARRATIVE
Parallel Conflict change
DIALOGUE
Costume LOCATION Editing
Choices, JUMPS, CUTS
Symbolism Themes / Issues Mood Character
Stereotypes / eccentricity
Style
Formality / Complexity
Voice
Metaphors
Allusion allegory Metonymy Eye dialect PersonificationRhyme and Rhythm
Camera Movements
Events
Historic / contemporarySetting
Collage Montage Juxtaposition Similes Audience
Argume guments
Persuasion Messages rhetoric
Genre
Structure Diction Imagery
FILM
ALLUSIONS REFERENCES
P.O.V.
LENGTH DURATION TONE MUSIC
I. Diagram: The handout is neither a complete list of components nor a thoroughly exemplified set of categories. Accordingly, instructors should feel free to cut, edit, elaborate, modify and/or move any of the boxes according to their own visions and
II. Purpose: This primary goal of the exercise is to demonstrate the distinction between a literary and a cultural analysis, a distinction beginning writers often find vaguely overwhelming. By using the holistic techniques of clustering, brainstorming and diagramming, the exercise provides a hands on experience with synthesis. III. Discussion: While the handout may be provided to the class, a reduced version, one specifically tailored to the texts currently under discussion, will work best if drawn on the board. Begin by asking the class how Mechanical Elements of said text were used to demonstrate, explain, show, or enhance any of the boxes under Story Elements. I. Example Prompt Questions: “how did the costumes in the film demonstrate gender themes?”, “how did lighting help establish the films mood?”, “how was editing used to establish narrative structure?” II. Leave ample space on the board to write under the appropriate categories any examples brought up in discussion. IV. Lecture: Once a few texts and their elements have been deconstructed, explain that all these strategies/examples are the essentials of a Literary Analysis. Then, discuss the third set, which is them: the culture, the class, their individual and personal perspective which they bring into the text. Conclude by explaining how using set two (Story Elements) to explain the larger set of world view and personal beliefs, which they as an audience create, is a Cultural Analysis. I. Example Questions: “How does the narration of the text demonstrate the conflict often found in abusive relationships?”, “How do the characters represent commonly perceived stereotypes?”, How does the theme of Y parallel the current political situation of X?” V. Group Exercise. Break the class into pairs or small groups. Assign each group one or two specific story elements and ask them to produce a thesis statement incorporating elements from set one or two. Additionally, have them provide an outline
counter arguments the paper might expect. I. Follow-up by allowing each group to type up their outline for either presentation or sharing with the other groups for feedback on strengths and weaknesses.
I.
Select your Films,
Bibliography
Press, Inc. 1988, Print.
Beth Alvarado, Barbara Cully, & Michael Robinson. United States: Pearson Custom Publishing, 2003. 72-81. Print.
Xexoxial Editions. N.D.