Course Profile

This course requires students to create and perform in dramatic presentations. Students will analyse, interpret, and perform dramatic works from various cultures and time periods. Students will research various acting styles and conventions that could be used in their presentations, and analyse the functions of playwrights, directors, actors, designers, technicians, and audience.

This film and video course uses examples in different media as source texts and allows students to extend their theatrical understanding to include film and video arts.

Course Overview

This course provides an in-depth exploration of film and video. Students examine the evolution of Western drama from stage to screen and explore various filmmaking techniques and acting for the camera. They analyse scene structures, acting styles and genres of film. Students experiment with video production to develop a final presentation.

UNIT 1 - Introduction to Film

This unit examines the history of Western drama and its evolution from stage to screen. Students will explore films as an important tool for communication and entertainment and the impact the film industry has had on the arts, politics, technology, and society (and vice versa). Students will view and analyse select films from the silent era to sound ("talkies") in order to examine the progression of acting techniques from over exaggerated gestures and movements in silent movies to subtler expressions, intonations, and delivery in "talkies." Students will begin to look at the filmmaking techniques that provided the opportunity for this new style of acting to develop i.e. close ups. Finally, students will critically examine the changing nature of film and how the telling of story through film has evolved i.e. use of symbolism.

UNIT 2 - Introduction to Filmmaking Techniques

In this unit, students will learn the various technical aspects of filmmaking (camera angles and movements) and will examine why and how these tools are used. Examples of these techniques will be shown from a variety of films and students will debate angles and movements from thematic and artistic perspectives. They will learn the value of storyboarding as a critical and creative aid to mounting a scene and will create storyboards for scenes from films they have watched or for their own works. Students will have a clear understanding of how to use a camera and how to apply their understanding of filmmaking techniques to their own medium.

UNIT 3 - Roles and Responsibilities in Film 

In this unit, students will begin by examining how the roles of theatre i.e. director, stage manager, sound operator have evolved to accommodate the medium of film i.e. director, 1st director, sound recordist and how new roles have had to be created i.e. cinematographer, editor, dolly grip etc. Students will look at the separation between pre-production roles and responsibilities e.g. screen writer, storyboarding, location manager; production roles and responsibilities e.g. director, script supervisor; and post-production roles and responsibilities e.g. sound and film editors. They will learn the importance of pre-production work in helping them get organized on the days of shooting (call sheets, one line schedules, etc) and will compare this to the importance of pre-production work in theatre (design meetings, rehearsals, etc). Students will have a clear understanding of the safe operation and care of the technical equipment they will be using in this course.

UNIT 4 - Acting for the Camera 

Students will examine acting techniques, the scene analysis process, and rehearsal and performance practices related to stage and screen. They will focus on the theoretical approaches of Stanislavsky and Uta Hagen, as well as, Judith Weston (see resources) and others (Sears and Switzer) who specialize in teaching acting for the screen. Students will apply their theories to stage and screen performance translating a scene from the stage to the screen.

UNIT 5 - Fiction versus Non-Fiction Films

Students will study fiction and non-fiction films and the difference between the two. They will examine traditional fiction narratives, documentaries and non-fiction films and their target audiences. Students will examine Canadian Historica Minutes and create their own Historica Minute. Students will discuss the docudrama and compare this to film documentaries. Students will learn how to tell narratives through fiction and documentary and will explore these onstage in preparation for unit 6.

UNIT 6 - Filmmaking

Students will create and produce their own short films for public performance (with a choice of form and/or content). In small groups, students will work on the script, storyboard and pre-production responsibilities together. They will then divide the various production roles to be filled within their group (e.g. acting, directing, cinematographer, etc.) and will work towards creating their own film for a specified audience. Students will evaluate their own work and the work of others. Their expertise in developing, planning, and executing screen drama projects from beginning to end in a collaborative atmosphere will increase. If time, students will have the opportunity to work on each other's films. For example, student A may direct the work of student B while student B may be an actor for student C.

Print:

Barr, Tony Acting for the Camera. New York: HarperCollins Publishers, 1997. ISBN 0-06-092819-0

Bernard, Ian. Film and Television Acting: From Stage to Screen. 2nd ed. Woburn, MA: Butterworth-Heinemann, 1997. ISBN 0-240-80301-9

Bordwell, David & Thompson, Kristin. Film Art: An Introduction 5th ed. McGraw-Hill, 1997. ISBN 0-07-006634-5

Carroll, J., Anderson, M. & Cameron, D. Real Players?: Drama, Technology and Education. Stoke on Trent: Trentham Books Ltd., 2006. ISBN 1-85856-365-8

Hagen, U. Respect for Acting. New York: Macmillan, 1973. ISBN 0-02547390-5

Hill, Lynda. Acting Out: Scenes and Monologues from Theatre Direct Productions for Youth. Toronto: Playwrights Canada Press, 2007. ISBN 978-0-88754-882-6

Mast, Gerald & Kawin, Bruce. A Short History of the Movies. 6th ed. Needham Heights, MA: Allyn & Bacon, 1996. ISBN 0-02-377075-9

Nicholas, Angela. 99 Film Scenes for Actors. New York: HarperCollins Publishers, 1999. ISBN 0-380-79804-2

Nolan, Y., Quan, B., Seremba, G. Beyond the Pale: Dramatic Writing from First Nations Writers & Writers of Colour. Toronto: Playwrights Canada Press, 1996. ISBN 0-88754-542-4

Rabiger, M. Directing the Documentary, 3rd ed. Woburn, MA: Butterworth-Heinemann, 1998. ISBN 0-240-80270-5

See, Joan. Acting in Commercials: A guide to auditioning and performing on camera. New York: Backstage Books, 1993. ISBN 0-8230-8802-2

Stanislavski, C. An Actor Prepares. New York: Theatre Arts Books, 1967, ISBN 0-87830-001-5

Weston, Judith. Directing Actors: Creating memorable performances for film and television.

Michael Wiese Productions, 1996. ISBN 9780941188241

Weston, Judith. The Film Director's Intuition: Script analysis and rehearsal techniques. Michael Wiese Productions, 2003. ISBN 9780941188784

Audio/Video Resources:

Caine, Michael. Acting in Film: An Actor's Take on Movie-Making. DVD. New York: Applause Books, 2007. ISBN 1-55783-699-X

National Film Board. https://www.nfb.ca:443/

National Film Board. Aboriginal Perspectives. https://www.nfb.ca:443/explore-by/keyword/en/aboriginal_perspectives/

Obomsawin, Alanis. Incident at Restigouche, https://www.nfb.ca:443/

Obamsawin, Alanis. My Name is Kahentiiosta. https://www.nfb.ca:443/

Obamsawin, Alanis. Richard Cardinal. https://www.nfb.ca:443/

Obamsawin, Alanis. Kanehsatake. https://www.nfb.ca:443/

Lowe, Colin. Circle of the Sun.  https://www.nfb.ca:443/

Direct Instruction: lecture, whole-class discussion, didactic questioning

Indirect Instruction: viewing film for meaning, diagnostic questions, reflective discussion

Experiential Learning: theatre games, role playing, rehearsals, brainstorming, think/pair/share, storytelling, storyboarding, filming

Reflective Learning: reflective journal writing, rehearsal log

Independent Study: assigned worksheets, self-assessment, film and video research

Interactive Instruction: large and small group discussion, play and media study, portfolio building, brainstorming, peer assessment, scene building

Differentiated Instruction:

• flexible groupings: option to work alone, in pairs, or small groups
• choice of material: guided student choice from scripts and sources
• choice of process: student choice of production, pre-production, and post-production roles and responsibilities

Business (biz): Gestures or action involving a character in the scene, usually involving a prop i.e. character lights a cigarette, puts it out, paces.

Cheating out: To turn your face, or your entire body, out to the audience so they can see your face better (avoids audience only seeing profiles). The trick is to do it so that it looks natural.

Cheating for the camera: See Appendix #1.

Scene: The exact location where the action is happening; can have several shots.

Shot: A single continuous view that probably only shows part of the action.

Sequence: The complete chapter of the story; can have several scenes.

Camera shots

Aerial: A camera shot from a helicopter or airplane.

Bird's Eye View: The camera films from directly above the subject.

Crane: Shot from a crane.

CU (Close-up): Either an object or a person's face fills most of the screen as though the viewer were 'close up' to the subject.

Dissolve: A new shot is introduced by overlapping another as the original fades.

ECU (Extreme Close Up): Only part of a face, for example just the eyes, are included in the frame. 

ELS (Extreme Long Shot): A panoramic shot, usually of a landscape or location.

Establishing Shot: A very wide angle shot, usually the opening shot used to establish location or setting.

Frame: The border that defines the parameters of the screen image.

High Angle: The subject within the frame is seen from above as if, for example, an adult were looking down on a child. Creates the impression of inferior status of the subject filmed.

Low Angle: The subject within the frame is seen from below (also known as an upshot), the camera films from below the subject (often to provide the feeling of the subject's superiority). 

LS (Long Shot): The entire subject fills the frame (head to foot).

MS (Medium Shot / Mid-Shot): A part of the subject fills the frame (example: waist to top of head).

POV - Point of View: Shows a view from the subject's perspective; the audience sees what the character sees.

Two shot: A shot where two subjects comfortably fill the frame.

Camera Movements

Dolly/Tracking: The camera moves along a track beside, toward or away from the subject in the shot.

Pan: The camera films moving horizontally from side to side.

Steadicam: An apparatus that stabilizes the camera while worn by the camera operator for follow-shots.

Tilt: The camera films while moving vertically up or down.

Zoom: The camera shot moves closer or further away from the subject.

Production Roles

Best Boy: Responsible for the daily running of the lighting or grip department.

Boom Operator: Person responsible for operating the boom-microphone.

Casting: Assignment of actors to roles within the production.

Cinematographer: Responsible for making artistic and technical decisions related to filming.

Director of Photography (DP): Camera and lighting supervisor on the production.

Foley Artist: The person on a film crew responsible for the creation of sound effects that represent everyday noises (footsteps, wind, background noise, etc.).

Gaffer: The head of the electrical department.

Grip: A person responsible for the adjustment and maintenance of production equipment on the set. Their typical duties include laying dolly tracks or erecting scaffolding.

Unit 1 Introduction to Film

Silent Era vs Sound

Students will create their own silent dramas onstage using exaggerated gestures and movements to tell their story. Music will be used to enhance the mood. Students may then tell the same story using dialogue and more realistic acting with natural gestures and movements.

Unit 2 Introduction to Filmmaking Techniques

Exploring Camera Angles

Students will learn about the various camera angles i.e. low angle, high angle and the reasons one may choose to shoot from that angle. Students will then choose a theme and explore angles to help demonstrate their objective i.e. to show inferiority shoot from a high angle.

Unit 5 Fiction versus Non-Fiction

Creating Documentaries

Students will explore documentaries and choose their own topics to explore and research. Students may wish to interview others and become those characters (docudrama) onstage. Students will then discuss how film can enhance their stories.

Ongoing: student-teacher conferences, descriptive feedback, self-, peer-, and whole group reflection, strategic questioning (closed, open, probing, diagnostic)

Observation: anecdotal records, checklists, oral feedback, rubrics

Demonstrations: projects, storyboards, role-play/improvisation, written assignments (film reviews, "writing in role", etc.), video projects, quizzes and tests

Meta-cognitive: self-assessment, peer-assessment, collaboratively designed assessment tools (rubrics, checklists), reflective journals, film reviews, exit cards, student-teacher selected format to show evidence of learning