• The sights and sounds of video are used to engage and motivate today's digital generation in a way often missing from the classroom.
• The students should demonstrate the cooperative abilities needed to complete the project by selecting a t opic, writing the script, acting out the various parts, and filming the video in the target language.
• The students should demonstrate ways to communicate using technology.
• The students should use appropriate resources to research the various questions that arise from their script, background to make the characterizations "live" and to set their story in a believable situation with appropriate scenery and props.
• Literacy levels, fluency and comprehension increase as the students work on mastery of their lines and coach each other preparing for filming.
• Students develop problem-solving skills as they work through the process of creating and filming their video.)
Make a movie? ME? You've got to be kidding. How daunting! How intimidating!
NOT! Like the journey of 1000 miles that begins with just one step, breaking the task into do-able steps is the key.
Most of you have been bombarded with "movies" your entire lives, everything from tightly scripted 30 second commercial spots to feature le ngth presentations.
Even if you have never entertained the faintest notion of creating a movie yourself, you already possess a wealth of experience to tap into and fuel creativity.
Video makes it possible to use that creative energy as the culmination of the learning process. Lots of HOTS (Higher Order Thinking Skills) happen along the way. Outcomes-based learning stresses the creation of a project, something tangible to show that the learning has taken place, and video fills that niche admirably.
English teachers (substitute "language" teachers here) used to talk about four skill areas, reading/writing, speaking/listening, but the fifth, viewing, has become increasingly more important, and has been part of the formalized area recognized by the D epartment of Education as something teachers need to address for as long as I can remember. Yet the idea persists that film is "fun", not "real".
Don't be deluded. Making a movie is real work. It takes real skills, skills probably untapped during most of your school experience.
Students with movie making skills have yet one more weapon in their arsenal, one more job-acquiring talent to tap. The range of job possibilities/lifetime learning skills covered by movie making grows constantly, and at the very least, can assist with the creation of watchable family events instead of groaners of wedding videos, baby's first step shorts, and junior receiving that all-important diploma. "Grew Rich in the Movies" legends have peppered the lifestyles of the r ich and famous my entire life.
"'Mankind is only one generation away from barbarism', meaning we must educate our young, or we will find ourselves in the soup..." Bill McLaughlin, Saint Paul Sunday
So, on with the show. Let's take those first steps and go there. (Activities)
OVERVIEW FOR TOP-DOWN LEARNERS
1. Warm-up activities-discussion
2. Divide into groups
5. Select Topic
6. Generate Ideas to Include
7. Create a Storyboard
8. Create the Script
9. Shoot the scri pt
10. LOG THE TAPE
11. Select the "keeper" scenes
12. Edit onto a master tape
13. View the product
14. Evaluate the result
15. Redo whatever there is time for (endless loop)
Warm Up -- View award-winning videos from Eve (Mary, I can provide a ta p e/CD for you if you'd like to see what we've been up to...)
Group -- The minimum number for an all-student production for live action is two, it seems to me. An actor/actress (the talent) and a camera operator. A group of three to four is much less str essful and more likely to produce better results. Large classrooms full of students can simply be grouped into working units. If you KNOW ahead of time who are the creative ones, try to stick one high creative in each group. Since this tends to be an u ntried area, as students go through the discovery of their talents, creative surprises tend to pop up, so another school of thought says, divide randomly and let the creative juices flow. (In other words, no matter which route you take, you can justify i t, and it WILL work out.) Divide yourselves now.
Brainstorm -- What topics pop into your minds to create your first video? Think of topics related to class activities. Think off the wall. This is yet another area where there are NO wrong answers. Re member the guidelines of good taste and morality that accompanies all classroom-originated material. Budding Playboy writers/actors still need the same skill sets to be used here.
Evaluate -- Are there extreme technical difficulties to certain project s? Some story lines are naturally easier to film. Stories with lots of special effects are possible, and sometimes solving the problems is a very positive experience, but I recommend against it for the first project. Save that fantastic story involving the perils of climbing Mt. Everest for when you have your feet wet so you don't become overwhelmed. (Chances are, even when you THINK you have a straightforward shoot, there will be enough problems that arise to keep you hopping. For instance, the scho ol insurance dictated that students CAN'T DRIVE school vehicles. Now, film a video about a driver's ed class that you let them choose without knowing that one essential fact...)
What talent is required? (Do you have enough available, or are work-arou nds possible?) What locations are needed? (Trips to Cancun over Christmas may be inticing, and do wonders for your enrollment, but are not really practical.) Do you have to build scenery? What props are needed? (How many days will it take for X to remember to bring the small fry pan?) What outfits? (Keep them right in the classroom until the filming is done if more than one day of shooting will be likely.)
Select -- When one idea pops out as more interesting and possible for your group, make the selection. I allow the students to choose, but I sure feel no qualms about pointing up problems they have not come up with, and what lengths they'll need to go to for creating solutions. I try not to flat out reject any of their ideas. Using the FL guidelines, (Mary, I attached a copy of our grading rubric, which is where the students start the study, evaluating the previous year's selections, and see the requirements) topics stay within an acceptable range. If you are not starting out with a set of guidelines (not recommended) think how you will handle the inappropriate issue ahead of time. (Example: the seventh grade English group that selected "Date Rape" as their topic.) [Yes, with the principal's approval, we DID research and shoot it... I fel t as if I were walking on eggs the entire time. One of the BOYS had the best scream under distress.]
Idea Generation -- The lead-in to Storyboarding parallels the writing process, but with a visual slant. Encourage students to think how something will look on film. What scenes will they need to tell their story? What incidents will move the plot along? (Depending on the age of the students, I draw parallels to the classical plot outline as needed here. Establishing shot=? [exposition's setting] No t all movies hinge on plot, but creating an art film is not my intention. I at least want to see a beginning, middle, and an end.)
Trot out your process writing skills and adapt them to visual. Explain the process writing stages if it is not in gen eral use (Most new texts now use it, fortunately for us. That way, we don't have to reinvent the wheel.) Improving writing skills is always a plus for an activity's byproduct. Sometimes I use cluster diagrams (webbing), sometimes brainstorming, depending on the group. Pre-writing is the skill that fits here.
Storyboarding -- Pass out a storyboarding sheet. (Skip this step, and you pay for it later!) I also use the Long shot, close-up worksheet here, so they have some clue to camera angles/views. There may be many false starts before they get the hang of going from inception to resolution in six pictures. What six shots would you choose from Un Desastre? (The video was showed to the class at the start of the first period of the unit.)
Scriptin g -- I use class time to get students started on their first draft, assigning the completion of it as homework. Since we have the technology available, I insist that it be computerized, as revising/editing is so much easier and more likely to happen. (W e created three versions of one script quite by accident, as I had an unexpected sub, and the group meeting/assigning of dialog sections did not happen.) Now, I tell kids to write their own lines in Spanish so they are sure they can SAY them. I do allow them to write initially in English, which can lead to translation trouble later, but sometimes I think they learn more solving the problems than if everything goes smoothly.
The last half of class the next day after translation is devoted to a read-through. I generally don't have to tell them after hearing it aloud what needs to be redone. If they can't SAY the string of words even when reading it, reality generally sets in.
Shooting -- Shoot each little segment as a discrete block, from several angles. Repetition of the dialog lines generally results in greatly improved performances, and allows for greater editing possibilities later on. I use the camera diagram prior to shooting, and try to chose a student with good steadiness as the camera p erson. Framing the shots to match the story board drawings will not happen automatically, and not all groups will draw diagrams representing the views they really wanted. If you have more than one class doing projects at the same time, use a separate vi deotape for each project. Shoot the master tape on good quality tape unless you have the new digital cameras... which are noticeably better.
LOGGING -- The logging sheet has a place for the time on the tape that the scene occurs, (real time counters a re a plus here, but just using the same VCR and keeping track of the numbers on the counter can work, as well.) a description of the video scene, and the lines the actors are saying. Announcing the scene/take before they begin also helps keep things org anized.
Being able to find the filmed segments/lines of dialog later is a real headache if you have not marked your scenes as you film and logged your tape. Modern editing programs allow the substitution of sound tracks and a variety of audio mixing, ti tling, and transitions between scenes. To make use of them, an accurate log is essential. Even in short projects, finding the right sequence on demand speeds things up during editing.
Selecting -- As we view the "rushes" from the shooting for the day b efore, the students pick out the performances to include in the final product. Marking them with a highlighter on the tape log, then numbering them in sequence leaves the editor something to methodically follow. (I make a back-up copy of the log, and ma rk that instead of the original. Kids are notorious for changing their minds.)
Editing -- Apple offers an older version of its iMovie program for free on their web site. PC editing programs are also available. This is an area of rapid, explosive gro wth at present, and new things appear nearly daily. At home, I use the full fledged movie creating software, Final Cut Pro, which played a big role in the last StarWars movie and other commercial productions. (NO, I am not at that level!)
Generally, one student is in charge of this, instead of teaching the skills to everyone. They usually volunteer for this in advance. (One student picked that job the previous spring... LOL) Expect time overruns here. Students with home editing equipment available are invaluable assets, but certainly not required to successful completion of the project.
Viewing -- Again the group views the finished product, which generally creates more refining. Tight editing jobs are NOT what happens the first time through. I f you are not using digital equipment, do not rewrite the old material -- go on to a clean section of the tape. (I lost part of one video that had been heavily re-edited in the same place on the tape when the magnetic coating of the tape gave out, leavin g a hole in the movie...)
Evaluating -- Even students not involved with the creation of the video seem to be able to contribute quality comments at this point. Praise/polish, not trash the creation, is the rule here.
The evaluation of individual st udents and the overall project is based on the guidelines formulated by the AEA 15 Foreign Language teachers. The rubric designed is:
1 point: The video is only partly understood, even after multiple viewings and using the typed transcript.
3 points: The video can be understood, but mistakes are noticeable.
5 points: The voices are clear; words are enunciated, volume is appropriate, new vocabulary is explained or demonstrated in context. Pronunciation approaches that of a native-speaker.
1 point: A plot exists, but is not memorable.
3 points: The video expresses some idea of humor, drama, or information.
5 points: The video is truly memorable and sends a message that is worth no ting in any language.
1 point: Actors read the lines.
3 points: Lines are delivered from memory, but with some hesitations or lack of feeling.
5 points: Superb acting adds to the understanding and enjoyment of the video.
1 point: The script is incomplete or contains errors that confuse the reader.
3 points: The script is complete and accurate.
5 points: The script is complete and accurate with vocabulary that is appropriate to the language class level in difficulty. It uses important words that students in the class would be expected to know.
1 point: The length of the video detracts from its quality.
3 points: The video is slightly longe r or shorter than requested, but the length is needed for the plot.
5 points: The video fits within the requested time guidelines of 3 to 7 minutes.
Any time students must be part of a group with a time limit to complete a project, as wi th this unit, their interpersonal skills, ability to form connections and adapt are strengthened. When asked to act, their interpretive skills are used to the fullest extent. When that acting must be true to a foreign culture and language, inevitable co mparisons between "them" and "us" happen. The end product, the video, is presented to classmates, other schools in AEA 15, who then evaluate the result, returning a comment sheet, in addition to a winner being selected and a trophy awarded.
The motiva tion from this is endless. Students reported cousins, other church members, other community members, as well as their own families, who were impressed with their ability to perform in the foreign language.
The utlimate compliments to me were 1) the ja nitor, who does not speak any Spanish, sitting through the entire production, knowing it would add to the time she had to spend on the job, as she had a set amount of work to complete, not set hours; 2) two students entering from the hall, seeing other students from our school on screen, delcaring, "Oh, that's ___! I thought I was hearing a commercial video when I was out in the hall.""