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Dipping into Mud

MUDJeff Nichols’s Mud is arriving in theaters in the United States, and it provides rich points of discussion for the classroom, starting with its ties to American literary traditions of the South, including The Adventures of Huckleberry Finn.  And for high school teachers, here is some big news: it’s PG-13!  (Which – as many educators certainly know – is often not the case with movies that delve into complex themes and develop multi-faceted characters …just start looking through lists year after year of award-winning movies!)

Jeff Nichols Directs "Mud"

Jeff Nichols Directs “Mud”

One particularly enlightening video for classroom use to discuss Mud is from the “Anatomy of a Scene” series by the New York Times.  Screenwriter and director Jeff Nichols provides excellent insight into the decision-making process of a filmmaker – particularly in relation to cinematography choices – which can stimulate very interesting group discussion.  In this interview with Jack Giroux of filmschoolrejects.com, Nichols discusses the writing process and inspirations for this movie, among other topics.  Also, here is a video interview of Nichols on firstshowing.net and a text interview from crave online that focuses primarily on “how to get it made” (and in which the journalist ends up by centering the discussion on the fact that he will be going to the Cannes festival this year!).  For those interested in pursuing information about collaboration between directors and actors, there are many interviews with star Matthew McConaughy (for whom Nichols created the role) while Jeff Nichols talks about highlights of his work with Reese Witherspoon, Sam Shepard, and others in the interviews linked above.

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Admongo: Deconstructing Commercial Messages

As mentioned earlier in this blog, at the 11th Annual Northeast Media Literacy Conference at UConn I am presenting a talk titled “CCSS and Media Literacy in the Classroom: Communications and Critical Thinking through Promotional and Public Service Messages.”  As a service to those attending the conference and to followers of this blog and the Moving Images textbook, here are notes and links included in my presentation.

First, it is important to review principles of media literacy: here are the essentials at the NAMLE website.

Then, on to what educators face as principal challenges in curriculum development today: the Common Core State Standards.  For media literacy professionals, the following descriptions are the essentials.  For Reading Literature:  Analyze the representation of a subject or key scene in two different artistic mediums (RL/9-10:7); Analyze multiple interpretations of a story, drama, or poem (RL/11-12:7).  For Reading Informational Texts:  Analyze various accounts of a subject told in different mediums (incl. multimedia).. (RI/9-10:7); also, integrate and evaluate multiple sources of information presented in different media or formats (e.g. visually, quantitatively) as well as in words in order to address a question or solve a problem (RI/11-12:7).  For Speaking and Listening, students must make strategic use of digital media (incl. audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.  (SL/9-12:5)  Finally, in History/Social Studies and Science/Technical Subjects, learners have to make strategic use of digital media (incl. audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.  (SL/9-12:5)

MerchantsCoverFor resources specific to the investigation of commercials, one of the best places to begin is at Frank Baker’s Media Literacy Clearinghouse, where there is a homepage for materials on critical thinking about advertising.  For educators of elementary and middle grades, there is the Federal Trade Commission resource Admongo, which features many exercises and lessons.  From my own materials related to Moving Images, there is an extended interview on this blog with advertising copywriter Kevin Goff, and links to commercials can be found.  These can be evaluated using such models as those of the Instructor’s Resources with Moving Images or this lesson from the MLC pages: Deconstructing a TV ad.  Recent ads have come under quite a bit of scrutiny, such as the commercials during this year’s Super Bowl.

Other examples used during the presentation are for investigative work done by students using such exposes as PBS’s Merchants of Cool and Digital Nation and Media Education Foundation’s Killing Us Softly and The Bro Code .   Using selected parts of these media reports as a basis, students must research topics offered by their teachers and create presentations based on the media questions that are most appropriate.  The attached Unit Activity GuideCritical Analysis 5b Lesson Plan – was drafted for work with Merchants of Cool and Digital Nation in conjunction with Chapter 5 of Moving Images.

As for examples from my classes that are shared during the presentation, those are for attendees – so I look forward to seeing some of you media literacy educators there!

curfew_movie_poster-650x0This year’s Oscar winning live action short film, Curfew, has all the earmarks of 21st century media artistry: it was edited on a Macbook Pro by its director and star who is also the frontman for an indie band.  Shawn Christensen also wrote its script; moreover, aspiring screenwriters are encouraged to check out this year’s highly lauded group of nominated shorts, which offer many lessons in screenwriting and directing, particularly Asad by Brian Buckley and Buzkashi Boys, directed by Sam French and written by Martin Roe.

In the documentary category, the winning movie, Inocente, directed by Sean Fine and Andrea Nix Fine, was partially funded by a Kickstarter campaign.  It is a non-fiction portrait about a young girl’s powerful determination to continue to create art and never surrender to the intense challenges she faces in her life.

Tough BirdIn the animated category, the winner was the Disney short Paperman, directed by John Kahrs and released along with Wreck-It Ralph.  In this case, the most surprising aspect of the victory for this non-dialogue short created through a new in-house technology called Meander is that this is the first win for a Disney short in this category since 1969!  That short was It’s Tough to be a Birddirected by legendary animator Ward Kimball.

mindtap_contestpage_335x360_FINALCengage, the publisher of Moving Images, is sponsoring a video challenge through their MindTap initiative that should greatly interest student moviemakers and media teachers.  Cengage is offering scholarships to the winning projects that express compelling and provocative answers to this question: “What makes you a unique learner?”  Check out the explanatory video and contest guidelines, and you will see that the contest is designed around an interesting premise that promotes a wide range of creative possibilities.

I should add that this could make for an excellent assignment for Chapter 5 of Moving Images.  And the top prize is $2500 (applied to university tuition)!

Greg Butler 3Greg Butler 2Greg Butler 1This past December and January, a Media Literacy and Production class I teach was uniquely lucky to enjoy two visits with VFX supervisor Greg Butler, who currently works in an administrative position with MPC.  Mr. Butler was nominated for an Oscar for his work on Harry Potter and the Deathly Hallows: Part 2, while his most recent vfx supervisory credit is for Jack and the Giant Slayerhis generosity in leading in-depth, enlightening discussions of the art and industry of contemporary vfx with our class is greatly appreciated.  Here is an excellent Visual Effects Master Class interview with Greg Butler created at the time of his BAFTA Award for Harry Potter.  

Visual Effects in The Life of Pi

Visual Effects in The Life of Pi

During these visits, we were able to discuss many topics and observed in-depth CG process breakdowns from the movies mentioned above and other work by MPC, including Prometheus and The Life of Pi.  Interestingly, one theme that Greg returned to many times during our talks was the balance between creative expression and business acumen that is necessary in motion picture fields.  Early on in the discussion, he spoke to the students about the ways in which a variety of coursework can help greatly when working in motion picture fields and the need to take advantage of a wide range of studies, including “business, and economics, and the ‘boring’ stuff you think has nothing to do with filmmaking,” and he cited diverse examples from his work as an administrator in vfx fields.  One specific case Greg described was how when he heads production teams, his company will often have to hire accountants for creating complex excel spreadsheets and other business-oriented work that is needed, and what will typically happen is that the accountants will quit after a short time because they have a hard time dealing with the chaotic, unpredictable needs of moviemaking.

Bill Westenhofer and colleagues on the Oscar stage

Bill Westenhofer and colleagues on the Oscar stage

Greg Butler also spoke at length about current economic difficulties being felt throughout the world of visual effects and used examples from a variety of projects, including his most recent, Jack and the Giant Slayer.   This topic hit major news coverage many weeks later when the Academy Awards ceremony experienced the rather ignominious moment of visual effects Oscar winner Bill Westenhofer being played off the stage (to the Jaws theme – is that supposed to be funny??)  and then having his mic turned off when he started talking about visual effects house Rhythm & Hues, which was one of the companies that worked on The Life of Pi but has since gone bankrupt. Here is an excellent article that discusses the VFX crisis and can provide interesting perspectives on how the economics of the business of creating and selling moving images can be such a complex and daunting task, even for a field that one would think is at the heart of drawing viewers and making money these days in movies — visual effects.