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Archive for the ‘Chapter 7’ Category

Just a quick note about a part of the media creation process that has the potential to provide fertile ground for classroom discussion and skill development: The Pitch.*  (See also: Pitch Notes 101.) 

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I am commenting here because this spring, my Advanced Video Production class has engaged in what have been the most fruitful, productive, constructive pitch sessions I have seen.  In this case, for the final project of the course, based on Chapter 7 writing and Chapter 8 project in Moving Images, the students came to class with outlines and project development materials (story breakdown, log line, other possible elements) and needed to pitch their concept and gameplan to a collaborative team.  Very positive attitudes, creative and respectful reactions and conversations, and concrete story development (along with discussions of sound, visuals, and more) was achieved by all group members.  

One resource available related to the development of skills in pitching and workshopping is a unit on media storytelling from members of Pixar studios (by Khan Academy) and which features a section on Pitching and Feedback.

* Please note: This process also has the potential to provide some of the most thorny challenges to any learning environment: through pitches, students open up themselves to group feedback in ways that can make them vulnerable and defensive.  It is critical to put into place effective, healthy approaches to workshop-type classroom situations and feedback-based interactions.  Make sure to examine a variety of project-based learning strategies outlined in texts like Moving Images and in resources available such as through mediateacher.net or the Journal of Media Literacy Education.

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With more exciting news in our Resources category (such as the Prelinger Archives and Portraits of America posts this year), the Library of Congress has announced that the National Screening Room is now online and features extensive resources for media literacy education.  Many items from this vital national archive are now accessible to the general public and classrooms across the country (and world).  As noted in an article by CBS News, among its highlights are: the classic Edwin S. Porter short The Great Train Robbery (featured for study in Chapter 2), the 1953 feature The Hitch-Hiker by Ida Lupino (a prime director for study with Chapter 5), and a wide variety of diverse types of media such as advertisements, PSAs, and home movies that are discussed in such posts as What Exactly is that Movie? on mediateacher.net and in our investigations of motion picture language and screenwriting throughout Moving Images. 

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About a year and a half ago, I posted an end-of-the-summer piece titled A “stink bucket of disappointment” or just some criminally wacky fun? about the movie Suicide Squad, written and directed by David Ayer (whose latest is Bright) and edited by John Gilroy.  For a very interesting critical investigation of editing related to Suicide Squad, I highly recommend this video: The Art of Editing and Suicide Squad It is from the YouTube channel Folding Ideas (by Dan Olson), and you can start at 01’20” into the video where he starts getting into the analysis of the movie’s editing.  

In fact, the piece is as much about cohesive storytelling as it is about the craft of editing.  There are many excellent breakdowns of issues to consider in the process of editing, as discussed throughout Moving Images, particularly in Chapters 1 and 2.  And Olson even references the Kuleshov Effect (at 17’30”) to help explain glaring weaknesses to the opening of Suicide Squad.  It is a revealing example of analyzing the effect of composition choices with editing.  It is worth pointing out that for a full analysis of issues with story and the filmmaking process with Suicide Squad, it would be critical to reference the shooting script by David Ayer.  Many answers to issues posed in the editing analysis could be revealed there.

P.S.: And here is a vlog post by Folding Ideas specifically about The Kuleshov Effect.

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There are many Crash Course videos from PBS Digital Studios, starting with one that builds on the Screenwriting Resources posts here at mediateacher.net: Screenplays.  It reviews the standard basic “rules” seen in screenwriting manuals, although you will of course want to turn soon to Chapter 7 of Moving Images to dig in well and be inspired about the possibilities and standards in writing for moviemaking.

There are also pieces on the invention of the movie camera, sound, independent cinema, many on film history, and numerous others.

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In a variety of posts, mediateacher.net has highlighted screenwriting resources, pitch notes, the work of current screenwriters (including Spike Jonze), and an original interview with writer Pamela Gray; for this summer’s screenwriter perspectives to explore, we recommend checking out the work of Oscar-nominated screenwriter Taylor Sheridan.  Until just a few years ago, he had been working as an actor; you may have seen him in Walking Dead.  

In one article he offers tips to aspiring screenwriters, and here he discusses his exceptional screenplay for the acclaimed recent movie Hell or High WaterHe also wrote the script for Sicario, directed by Denis Villeneuve (whose other films include Arrival and the upcoming Blade Runner 2049).  For his latest script, Wind River, Sheridan is also directing. 

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