8C2 English
Weekly outline
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Students mustMark as done
This is a single piece of paper that tries to capture the essence of the book you’ve read. It’ll include illustrations, text on the page, and other elements to fully capture what you’ve read.
Relating to our Context:
Effective Systems for Sustainable Living. You will come across aspects where the characters will meet certain challenges and will need to make certain crucial choices.
independently reading and reflecting on our novels, showing deeper thinking and understanding.
unpacking themes and messages, conflict, character development and how setting (time, place and circumstances impact on the choice individuals make in life.
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Kia ora...
Welcome to English. We have a full program this year, so let's crack on.
Success Criteria: I can
- Discuss the importance of English as a communication tool
Activities:
Leave the first page of your book for your title page.
Briefly brainstorm world communication tools. Can students recall 3 examples?
Watch following clip –
List as many examples of communication shown in the clip.
Create a timeline in your book.
Share within your table. Add to your list
Categorise events into written and non-written communication styles
Pair/share: Discuss the relevance of communication in the study of English.
Title page: Create a visual representation of what learning in English means to you. Finish for h/w
Homework:
- Complete your title page
- Reading Plus
EXPLORE / TŪHURA learning intentions:
- We are EXPLORING our place by recognising who we are and where we are from.
- We are EXPLORING .our place by making connections by thinking about my heritage and others around me.
- We are EXPLORING our place by researching an understanding of our local heroes and to show an increasing understanding of how language features are used for effect within and across texts.
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EXPLORE / TŪHURA learning intentions:
- We are able to write a narrative to develop real experiences or events using effective technique, descriptive details, and clear event sequences by EXPLORING our place through recognising who we are and where we are from.
- We able to make connections by EXPLORING our place, thinking about my heritage and others around me.
- We are able to research an understanding of our local heroes and EXPLORE texts to show an increasing understanding of how language features are used for effect within and across texts.
- We are able to use concrete words and phrases and sensory details to connect and EXPLORE our experiences and events precisely.
Planning an autobiography
Brainstorming
Take note of different styles of mindmapping on the board – on Bubbl, on A3 and using post-it notes. Consider:
- what should go in an autobiography for a typical Year 8 student
- subheadings for autobiographical work. Eg family, ambitions, hobbies, embarrassing moments, positive defining moment, achievements etc
- sequencing
Structure/Paragraphing - resources included in Google Classroom.
Read through TipTop hand-out & discuss paragraphing
Read Features of autobiographies hand-out
Read autobiography standard (planning instructions) & me by me (tips on structure & paragraphing).
Individual work
Standard level - all students cover basics
Complete their own mindmap
Brain storm on rough paper
Advanced level
Move on to focusing on the more stylistic elements of autobiography for students who have finished and are more competent with their written work.
Homework: Complete mind-map
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Student will:
Be able to change the verb within a sentence based on the tense
Be able to use the historical present tense
Be able to use verbs for analytical writing
Be able to nominalise verbs by turning them to nouns
Be able to use modal verbs in analytical writing
Glossary
Verb the most important word in a sentence which expresses an action, event or state of being along with when such events have taken place
Tense the location of a situation in time, an indication of when the situation takes place
Conjugate the modification of a verb from its most basic form
Subject the SUBJECT of the SENTENCE is the person or thing that the information is about
Object the OBJECT is the person or thing that is affected by the SUBJECT
Simple past tense is formed for most regular verbs by adding ‘d’ or ‘ed’ to the root verb
Perfect past tense is formed by combining the simple past tense form of the verb ‘to have’ with the past tense form of the root verb
Simple present tense is formed through the use of the root verb alone unless referring to the third person singular noun (he, she, it) in which case the suffix ‘s’ or ‘es’ is added
Historical present tense is used when talking about history, literary or media texts in the present tense
Nominalisation turning a verb into a noun
Modal verbs a verb that combines with another verb to indicate mood or tenseHomework:
Write here... -
FOCUS / ARONGA learning intentions:
- We are FOCUSING To develop a sense of audience and to engage the reader’s attention
- We are FOCUSING To develop structure, using paragraphs and sequencing events, details and ideas within paragraphs;
Kia ora...
Success Criteria: I can/have...
- I have used different types of sentence (compound, complex and simple).
- I have used varied sentence openers (fronted adverbials), some of which are extended.
- I have used expanded noun phrases, adverbials and speech.
- I have used paragraphs correctly all of the time.
- I have used an embedded clause.
- My spellings are mostly correct and I have confidently used commas.
- I have used adventurous language (adjectives, verbs and adverbs).
- My writing is well suited to the task set through use of simile, personification etc.
- Activities:
- Join BrainPop using your school Google Account not home account.
Complete Activity on 'Show not Tell' - Write here
Homework:
Write here... -
FOCUS / ARONGA learning intentions:
- We are FOCUSING To develop a sense of audience and to engage the reader’s attention
- We are FOCUSING To develop structure, using paragraphs and sequencing events, details and ideas within paragraphs;
- We are DEVELOPING the skills to change the verb within a sentence based on the tense, use the historical present tense, use verbs for analytical writing, nominalise verbs by turning them to nouns and use modal verbs in analytical writing.
Glossary
Verb - the most important word in a sentence which expresses an action, event or state of being along with when such events have taken place
Tense - the location of a situation in time, an indication of when the situation takes place
Conjugate - the modification of a verb from its most basic form
Subject - the SUBJECT of the SENTENCE is the person or thing that the information is about
Object - the OBJECT is the person or thing that is affected by the SUBJECT
Simple past tense - is formed for most regular verbs by adding ‘d’ or ‘ed’ to the root verb
Perfect past tense - is formed by combining the simple past tense form of the verb ‘to have’ with the past tense form of the root verb
Simple present tense - is formed through the use of the root verb alone unless referring to the third person singular noun (he, she, it) in which case the suffix ‘s’ or ‘es’ is added
Historical present tense - is used when talking about history, literary or media texts in the present tense
Nominalisation - turning a verb into a noun
Modal verbs - a verb that combines with another verb to indicate mood or tenseThe historical present tense
LO: Can I use the historical present tense for analytical writing?Q: Why are book blurbs written in the historical present tense?
Season of Secrets by Sally Nicholls
On a wild and stormy night Molly runs away from her grandparents’ house. Her dad has sent her to live there until he Sorts Things Out at home. In the howling darkness, Molly sees a desperate figure running for his life from a terrifying midnight hunt. He has come to help her. But why? And who is he?
The historical present tense makes the past more real. Where does Charles Dickens use it here? What’s clever about it?
If the funeral had been yesterday, I could not recollect it better. The very air of the best parlour, when I went in at the door, the bright condition of the fire, the shining of the wine in the decanters, the patterns of the glasses and plates, the faint sweet smell of cake, the odour of Miss Murdstone’s dress, and our black clothes. Mr. Chillip is in the room, and comes to speak to me.
'And how is Master David?' he says, kindly.
I cannot tell him very well. I give him my hand, which he holds in his.
In pairs, identify where Charles Dickens uses the present tense (Slide 3) and discuss the effect it has. Feedback.
Discuss the rules of the historic present tense. Try using it by writing sentences about a text they know.
We use the historical present tense when writing about a text. Why do you think this is?
When you write about a text, you write about it in the present:
“In this scene, Juliet is a calm and level-headed girl.”
At this moment, you also know what has happened in the past:
“In this scene Juliet is a calm and level-headed girl. Paris has shown an interest in marrying her, but she will not be rushed.”
You also know what happens in the future!
“Compared to how she is portrayed just hours later, in this scene Juliet is a calm and level-headed girl. Paris has shown an interest in marrying her, but she will not be rushed.”Here’s the beginning and the ending of a story by Ernest Hemingway called ‘The Old Man and the Sea’. (Use slides in presentation 'The Old Man and the Sea' to annotate.
“He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish. In the first forty days a boy had been with him. But after forty days without a fish the boy’s parents had told him that the old man was now definitely and finally salao, which is the worst form of unlucky.”
“Up the road, in his shack, the old man was sleeping again. He was still sleeping on his face and the boy was sitting by him watching him. The old man was dreaming about the lions.”
In pairs, identify where Charles Dickens uses the present tense (Slide 3) and discuss the effect it has. Feedback.
Discuss the rules of the historic present tense. Try using it by writing sentences about a text they know.
Answer these questions using your knowledge of the opening of the story. Use full sentences and the present tense to discuss the text above. When might you need to use the past tense?
- The boy is with the old man at the end of the story. Why do you think this is important?
- How do you think the old man is feeling? Why?
- Has the old man’s luck changed since the beginning of the novel? If so, why do you think this is?
Read another pair’s answers. Have they used the historical present correctly?
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To use evidence from the animation to answer questions on events, atmosphere and characterisation.
Steps to success:
MUST: I can watch the animation and answer simple questions (retrieval questions).
SHOULD: I can read the question, make a point and use evidence to support my answer.
COULD: I can explain my point and evidence.
Tuesday
Let's Watch “Alma”
Alma is a little girl who ventures into town in the snow. She is drawn to a shop window by a familiar looking doll. She enters the shop... what will happen when she goes inside?
Start watching the animation. Pause before she enters the shop.
Think about the following questions:
Who is she?
What is she doing there?
What do you think she is going to do?
Why is she so interested in the shop?
Watch the rest of the animation.
2. Describe the atmosphere of the town at the start of the animation.Thursday
Today you are going to answer questions about Alma using the SEXY Paragraph structure (Subject, Explain your statement, Evidence, Y is this important).
Breakdown of SEXY paragraphs is on Google Classroom.
Answer the questions using the SEXY structure.
1. Describe the shop front and shape. Why is it this shape? What atmosphere is the animator trying to create?
2. What happens when Alma writes her name on the wall? Why do you think that the doll looks exactly like Alma?
3. How does Alma feel when she cannot open the shop door? Give examples to support your answer.
4. Who do you think the boy on the tricycle is and why is he trying to get out?
5. Describe the atmosphere in the doll shop.
6. Alma is a determined young girl. Watch the animation and find evidence to support this.
7. What happens when Alma touches the ‘Alma’ doll? How is Alma feeling and how do you know? Extension: What do you think will happen after the next doll appears on the doll stand? Explain your answer fully, giving reasons for your prediction. -
PLAN & DO / WHAKAMAHI learning intentions:
- We are PLANNING to adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) so that we can communicate effectively with a variety of audiences and for different purposes.
- We are PLANNING to use a variety of technological and information resources (e.g., libraries, databases, computer networks, video) so that we can gather and synthesize information and to create and communicate knowledge about our lives - who we are and where we come from.
LI: To plan a narrative using a story board.
Steps to success:
MUST: I can order key events in a story.
SHOULD: I can use sensory and figurative language to describe the setting and character.
COULD: I can make predictions and plan an alternative ending to the animation.
Today you are going to use a story board to order the main events from the animation ‘Alma’.
You are then going to plan what happens next to Alma (after she has been turned into a doll).
Using the images attached, plan your narrative of Alma.
Remember to make notes (using bullet points) on the following:
setting description
character thoughts and feelings
character actions and motivations
include figurative language
Now plan an alternative ending.
What happens next to the doll of Alma?
Does she escape?
Does the doll shop owner appear?
Can Alma help the next child and stop her becoming another victim of the magical doll shop?
Create a storyboard of at least 6 cells using storyboardthat.com or CANVA.com to show a new ending of the story.
It’s up to you!
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Welcome Back
EXPLORE / TŪHURA learning intentions:
- We are EXPLORING how a story can be told in pictures as well as words
- We are EXPLORING how a writer can use science ideas in a fictional text
2nd May
Go to Padlet
https://padlet.com/acarter245/ce38p96hz39mg6ed
Answer the questions on the brainstorm.
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EXPLORE / TŪHURA learning intentions:
- We are EXPLORING how a story can be told in pictures as well as words
- We are EXPLORING how a writer can use science ideas in a fictional text
Frogs - Graphic Novel Study
Learning Intentions
• To explore how a story can be told in pictures as well as words
• To evaluate the effectiveness of using graphic features to tell a story
• To explore how a writer can use science ideas in a fictional text
• To consider how environmental changes might affect survival in the future
• To think critically about a character’s decision that is possibly life-threatening.
This week we have been exploring- What is a graphic novel?
- Developing some questions about future survival in a dystopian world
- Defining terms from the novel
See you Google Classroom for supporting materials.
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FOCUS / ARONGA learning intentions:
- We are THINKING CRITICALLY about a character’s decision that is possibly life-threatening.
- We are FOCUSING by viewing and reading short and extended texts based on the context of sustainability
- We are FOCUSING on independently reading and reflecting on our novels, showing deeper thinking
- We are FOCUSING by unpacking themes and messages, conflict, character development and how setting (time, place and circumstances impact on the choices individuals make in life.
Frogs Graphic Novel StudyWe will
- use prior knowledge of graphic texts and narratives to identify the setting and the character.
- make connections between this and other futuristic texts or movies to identify the mood and the setting conveyed by the illustrations.
- make connections between the text and their experiences of life on Earth to hypothesise that in this future, life has changed greatly for the worse.
- ask questions and search for answers to work out what a rad-monitor is and what it does.
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ask questions about the Mutts
and hypothesise that they are
dangerous.
- An interesting read
https://www.playfullearning.net/resource/5-great-reasons-read-graphic-novels/
See Google Classroom for activities relating to the graphic novel work.
Independent Novel Study
Thursday 19th MayLibrary - first half of session
Work with Mrs Townshead and Mrs Singh to get a book out which interests you but will also be in line with our context of systems and how we fit into these systems.
Complete the Google Form with your book information.
Open the Slide Presentation Pre-Reading Digital Tasks
Make a copy of the presentation and complete this.
THEN
Complete the first page of the slide presentation First Chapter Reads in your google classroom.Friday 20th May
Make sure your have completed the Google Form from yesterday.
This Google slide presentation include the nuts and bolts of our assignment. It contains lots of activities and information about how we understand and make sense of what we read and the systems we use to comprehend and develop our ideas.
Complete Slides 1-4 of presentation Digital Reading Activities
Hand if your work for today. -
FOCUS / ARONGA learning intentions:
- We are THINKING CRITICALLY about a character’s decision that is possibly life-threatening.
- We are FOCUSING by viewing and reading short and extended texts based on the context of sustainability
- We are FOCUSING on independently reading and reflecting on our novels, showing deeper thinking
- We are FOCUSING by unpacking themes and messages, conflict, character development and how setting (time, place and circumstances impact on the choices individuals make in life.
Tuesday 24th May
Complete slides 5, 6, 13, 14 on the Presentation on Google Classroom
Make sure you hand it in.
To support your ideas here, make a copy of the google doc - Character profile and add it to your assignment. This can be ongoing as you learn more about a character you like, the main character, protagonist or antagonist. -
FOCUS / ARONGA learning intentions:
- We are THINKING CRITICALLY about a character’s decision that is possibly life-threatening.
- We are FOCUSING by viewing and reading short and extended texts based on the context of sustainability
- We are FOCUSING on independently reading and reflecting on our novels, showing deeper thinking
- We are FOCUSING by unpacking themes and messages, conflict, character development and how setting (time, place and circumstances impact on the choices individuals make in life.
Tuesday 31st May
What’s the Status?
- Create a Facebook page for your character with some status updates about what they have been up to.
- Include some pictures and make sure your status updates are relevant to the character and the story.
- Around 3 – 4 status updates with images should give an overall picture of the character.
- Use your status updates to explore what your character does for a job, leisure time, places they might go on vacation and the like.
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FOCUS / ARONGA learning intentions:
- We are THINKING CRITICALLY about a character’s decision that is possibly life-threatening.
- We are FOCUSING by viewing and reading short and extended texts based on the context of sustainability
- We are FOCUSING on independently reading and reflecting on our novels, showing deeper thinking
- We are FOCUSING by unpacking themes and messages, conflict, character development and how setting (time, place and circumstances impact on the choices individuals make in life.
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REFLECT / WHAIWHAKAARO learning intentions:
- We are EVALUATING the effectiveness of using graphic features to tell a story
Build a One-Pager Book Flyer!
You need to create a document called a One-Pager. You can do this free-form, or you can use one of the pre-made Templates as a guideline that we’ve looked at.
Your One-Page Book Flyer needs to incorporate colour and decorative elements. Examples of the project will be shown in the classroom, otherwise, give it your best shot. Instructions for the One-Pager/Book Flyer will be on the back of this page.
Make a draft illustration and get it approved by Ms Carter.
Also, don’t forget you can do this in either PORTRAIT or LANDSCAPE:
Relating to our Context:
Effective Systems for Sustainable Living. You will come across aspects where the characters will meet certain challenges and will need to make certain crucial choices.- independently reading and reflecting on our novels, showing deeper thinking and understanding.
- unpacking themes and messages, conflict, character development and how setting (time, place and circumstances impact on the choice individuals make in life.
- Write a short biography of your author.
(Please do not copy from the internet, write it in your own words) - Incorporate important dates/locations connected to the novel.
- Analyse the changes in your character of choice from your character log.
- Have pictures or Illustrations! Either cut out and glued on or hand-drawn in.
- Write important Themes & Symbols that you created for the novel.
- Write a custom made non-spoiler summary / blurb of the story.
- Draw or represent important parts from the book.
- Decorate your page with important words from the book.
This may not be quotes necessarily, but rather words that are important. - Draw a symbol/drawing/cut out of something that acts as a symbol for the book.
- Have a border on your page? Decorate it with a pattern, words, drawings, or other things from the story to give your flyer life.
- Write a journal entry/reflection on how specific phrases/symbols/words/moments from the book connect to your own life. Quote the part before you write your reflection.
- Does the book have a movie? Watch it and write a comparison (try to avoid spoilers)!
- Write a custom made review/recommendation for the book and talk about why other people at our school should read this novel.
- Making your own templates? Draw all over that thing! Make your own structure and decorate it accordingly.
- Write a journal entry/reflection on how this book connected to you.
- Write a short poem or song that represents the ideas/symbols/themes from the book.
- Consider an age/maturity rating for this book.
Who was this book made for? Who would benefit from it? - Use Typography style to decorate the flyer with words that relate to elements you’ve learned in class. (Setting/Conflict/Theme/Plot/etc)
- Try listing elemental information from all the figurative language and element notes you’ve taken.
- Make connections to other books, films, pieces of art or music if applicable.
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REFLECT / WHAIWHAKAARO learning intentions:
- We are EVALUATING the effectiveness of using graphic features to tell a story
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FOCUS / ARONGA learning intentions:
- We are FOCUSING on independently reading and reflecting on our novels, showing deeper thinking
- We are FOCUSING by unpacking themes and messages, conflict, character development and how setting (time, place and circumstances impact on the choices individuals make in life.
This week, we are working on our One Pager with the hope to complete it before the holidays.Focus will be on the development of your character of choice throughout the novel.
- Use at least 4 adjective or phrases to describe your character at the beginning of the novel. Support this with evidence directly from the novel.
- Comment on how your character changes throughout the novel. Support this with evidence directly from the novel.
- Use at least 4 adjective or phrases to describe your character at the end of the novel. Support this with evidence directly from the novel.
This should be added to your One Pager as a couple of paragraphs - we will work on this in class.
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EXPLORE / TŪHURA learning intentions:
- We are EXPLORING language features and their effects; use these features in speaking; and adapt them to the topic, purpose and audience.
We are beginning on Persuasive Writing and Speeches.
This week, we are looking at persuasive writing and will be moving quickly through the tasks, so be prepared and on task for English this week.
This pack is in your Google Classroom so if you are away, you are able to work independently on this, we will not be reviewing missed days.
Work trough the Lesson Pack on Google Classroom (PW1) to complete your initial speech.
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EXPLORE / TŪHURA learning intentions:
- We are EXPLORING language features and their effects; use these features in speaking; and adapt them to the topic, purpose and audience.
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PLAN & DO / WHAKAMAHI learning intentions:
- We are PLANNING to a speech so that we can shows use of effective speaking techniques, clear organisation of material, and holds the interest of their audience.
We will be presenting our speeches this week.
Lesson 1
Finalising speeches and practicing.
Lesson 2
Random Generator has shown us this will be the proceedings. Be Prepared.
Volunteers will go first, it is great to get it over and done with, then you can relax and just watch the others.
Remember you can present at any time during the next 2 lessons. Just let Ms Carter know you are ready.
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PLAN & DO / WHAKAMAHI learning intentions:
- We are PLANNING to a speech so that we can shows use of effective speaking techniques, clear organisation of material, and holds the interest of their audience.
This week, we are presenting our speeches.
Once you have presented your speech, you will complete a self assessment. Then you will complete your One Pager and the Grammar activity in Google Classroom
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EXPLORE / TŪHURA learning intentions:
- We are EXPLORING language features and their effects; use these features in speaking; and adapt them to the topic, purpose and audience
- We are EXPLORING how a great paragraph is organised.
- We are EXPLORING how to write a great paragraph using SEXY and PEEL structure based on the relationship between the writing and the intention.
Visual Language Skills
Visual Literacy Clues: What Are They and How Do We Read Them?
“Visual Literacy is the ability to construct meaning from images. It’s not a skill. It uses skills as a toolbox. It’s a form of critical thinking that enhances your intellectual capacity.”
Brian Kennedy
Director, Toledo Museum of Art
If visual literacy is about decoding meaning from images of various kinds, regardless of the nature of the image, this process follows three general steps:
1. What Can You See?
To answer this, you must become familiar with Visual Literacy Clues (VLCs). The VLCs are: subject matter, colors, angles, symbols vectors, lighting, gaze, gestures, and shapes. These categories provide an approach to examine the details of the various aspects of the image they are reading.
2. How Does It Make You Feel?
It is now time for them to consider their emotional response to what you have viewed.
Express how the image makes them feel and how it has influenced them to feel this way. You may feel anger, anguish, excitement, happy etc. There is no limit to the emotions you may refer to, provided they can point to evidence from the image. Here are some suggested questions to help the students explore their responses:
Subject Matter: What is the topic of the movie? Who and what are in the image? What is the image about?
Colour: How is colour used in the image? What effect do the colours chosen have on the viewer?
Angles: Are we looking from above or below? What is the camera angle? How does this affect what we see and how we feel about it?
Symbols: What symbols are used in this image? What do you think they represent? Are the colours that were chosen symbolic?
Vectors: Can you see the major lines in the image? Are they broken or unbroken? How do the lines create reading paths for our eyes?
Lighting: Can you describe the lighting used in the movie. How does it affect the ‘mood’ of the movie?
Gaze: What type of look is the character giving? Where is their gaze directed? What does this say?
Gesture: What type of gestures is the character giving? What is communicated by these gestures?
Shapes: What geometric shapes can you recognise in the image? Do they repeat? Is there a pattern? Is order or chaos conveyed?
3. What Is The Image Trying To Tell Us?
This third aspect peels back another level of meaning to get to the overall message underlying the image. Delve into the intentions of the image-maker themselves. The genre of the image will be of significance here too, as the student considers the nature of the image as art, entertainment, advertisement or a fusion of the various genres.
The Scarecrow
Watch the video
Create an emotion graph similar to below Stanley from Holes.
We know we should all be making better food choices, but now we're feeling an overwhelming amount of sadness and guilt after watching this new short film.
This film is an advert for a new game for the Chipotle chain. The game aims to educate and engage the public about food issues. The above film, which coincides with the game's launch, features Fiona Apple singing "Pure Imagination," originally from "Willy Wonka and the Chocolate Factory."
The eerie music, combined with the scenes of a sombre factory (100% beef-ish!) produces a heavy-handed but effective The scarecrow grows increasingly sad as he sees chickens getting stuck with needles so they grow faster, and cows unable to move from their pens.
But then, after leaving the factory, he finds a fresh red pepper, growing in a bleak spot of land where no other fresh food is found. He's inspired to start cooking. Suddenly everything is beautiful again! The ad ends with the slogan above his new fresh food stand, "Cultivate a better world."What is the message?
Discuss effectiveness of the message using the SEXY structure we know.
make a Statement
Explain your statement
provide eXamples
whY is it important / whY is it relevant / whY has the author chosen to use this technique
Making Predictions
Look at the title - High Diving giraffes
Make predictions about what the video might be about.
Update your predictions
Watch it twice – you will spot more the more you watch it!
Were your predictions correct? Explain.
What do you think? Write your initial reactions to the clip.
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FOCUS / ARONGA learning intentions:
- We are IDENTIFYING personal connections to visual texts
- We are OBSERVING visual cues that indicate context and show understanding by matching images with context.
Session 1 - Tribute to the Queen
Document is included in Google Classroom
1) What might Elizabeth be thinking at this point when she learned that her father had died and that she would be a queen?
As Elizabeth travelled to Clarence House, her people lined the streets and stood in silence.
2a) Why are the people lining the streets described as ‘her people’?
2b) Why are the people lining the streets standing in silence and not cheering that Elizabeth has come home?
3a) Summarise this video in one word and explain why you chose this word.
3b) Summarise this video in ten words.
eg. The elegant and well-disciplined Household Cavalry were a demonstration of the Queen’s grandeur. Their horses were majestic creatures that trotted with grace.
4a) Which word is closest in meaning to ‘grandeur’? Circle one.
- magnificence
- strength
- size
- smell
4b) What other word could you use in place of grandeur?
- The events in this video are joyous.
- The events in this video are sorrowful.
5) Explain how both of the statements above might be true.
6) Write a short paragraph to describe the Queen at this point when she was crowned?
7) Number the events as they occurred in the video from 1 - 4.
- Elizabeth travelled to Clarence House
- Elizabeth’s father passed away
- Elizabeth came back to England
- Elizabeth was crowned as Queen
8) What title would you give this video? Why?
9) How does this image show that the Queen was well-loved and respected?
Session 2
Film Techniques
https://www.bhphotovideo.com/explora/video/tips-and-solutions/filmmaking-101-camera-shot-types
https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/
Choose one of the films we have studied and screenshot examples of these cinematography techniques.
Technique
Example
Effect
Camera shots:
1. Establishing shot
The establishing shot lets the ………………………..have a look at the subject in relation to its…………………….. It lets the audience know the setting for the scene they’re about to watch.
It usually appears at the ……………………. of a film or scene to establish the setting or to introduce a film.
2. Long shot
Is a type of establishing shot.
A long shot (sometimes referred to as a full shot or wide shot) lets the audience know the setting for the scene they’re about to watch.
It typically shows the entire ……………… and is usually intended to place it in some relation to its surroundings.
3. Close up
In general the ……………………..the camera gets to the characters, the closer the ………………………….feels towards the characters. This is a choice the director makes to communicate specific types of meaning. If your subject is a person, it is often their face.
Close ups are often used for important/dramatic moments to show details such as:
To express/convey emotions. A close-up is an emotional moment that draws in the audience and portrays a character’s innermost feelings. This makes the viewer feel like they’re part of the action.
To highlight physical features and facial expressions. It allows small details like a smirk, eye roll, eyebrow raise, etc. to effectively tell the story.
Identifies a moment of extreme importance in the story.
4. Medium close up
A medium close-up shot includes an actor’s upper body, usually from the waist up. Like in a close-up shot, some background will be visible, but the camera focuses on the actor and their emotions.
5. Extreme close up
6. Two-shot close up
Makes two characters featured in the frame.
It allows you to understand how the characters react and respond to each other.
7. Three-shot close up
Makes three characters the …………………………………..of the frame.
It allows you to understand how the characters ……………………………… and …………………………………. to each other.
Camera angles:
1. High angle shot
(God’s eye view/ Bird’s eye view/ Top shot/ Aerial view)
High angle shots allow the audience to see the movement of a scene all at once in a way that the characters cannot necessarily see themselves, giving viewers a more omniscient perspective.
A high-angle shot is a cinematic technique where the camera looks down on the subject from a high angle and the point of focus often gets "swallowed up". High-angle shots can make the subject seem vulnerable or powerless when applied with the correct mood, setting, and effects.
2. Low angle shot
A frame shot from a low angle makes the subject seem larger and can suggest the character is in a position of power and/or strength.
3. Eye level shots
The eye-level angle is the most……………… angle shot used. The camera is positioned at the character’s eye level so the character can look directly into the lens without moving the eyes up or down. It is considered to be emotionally neutral and is best used for straight, factual presentation.
It’s main purpose is to bring the audience into the story by not over dramatising. Eye level is how we often see the world in real life, and by using this familiar angle, filmmakers can connect their characters with the audience in a very intimate way. There are many different scenarios where a filmmaker can use an eye-level shot. Again, this neutral shot angle allows us to focus directly on a character’s face and emotions. Some scenarios where this can be useful are:
To make a character seem more relatable
To allow a character to “break the fourth wall” and speak directly to the audience
To -emphasize a character’s strong emotions, such as anger or pain
To give the viewer the impression that they know what a character is thinking or feeling
Camera movement
Pan- when the camera’s head is stationary, but it moves from ………………………………………………………………………………………..
Tilt-when the camera’s head is stationary, but it moves ………………………………………………………………………………………….axis
Zoom- zoom in means to get closer, and zoom out means to get farther away from the subject
Dolly shot- refers to any time the ………………………………………………..moves, either on tracks, from a helicopter, on someone’s back, or in any other way.
Extra for Experts -
Cinematography editing
Can you name these editing technique descriptions?
Editing terms #1
……………...- is when the image seen on the screen slowly fades to black or white or some other color. A fade sometimes shows that time has passed.
……………………...- is when an image on screen slowly fades away while the next image is fading in. Dissolves are used to connect images or to move between images in a smooth, rhythmic fashion.
…………………………………………..also called cross-cutting, which is used to cut between scenes that are happening simultaneously but not in the same location. (damsel, train, hero, bad guy etc)
………………………….. a cut is the quickest way to move between images. It looks like and instantaneous change between shots
…………………………………………...this is when an editor tries to show what the character is thinking. (when a trapped man sees a way to escape)
Editing terms #2
Long takes- generally feel as if they unfold in……………………………………., allowing the director to set up the scene realistically. A long take would be longer than 5-8 seconds.
Short takes- are typical in quick-cutting ………………………………... in which a single shot can be less than 1 second. Action films will also use a lot of short takes to create suspense and drama in a fight sequence or car chases.
- We are IDENTIFYING personal connections to visual texts
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PLAN & DO / WHAKAMAHI learning intentions:
- I can cite textual evidence that strongly support my inferences and analysis of the text.
- I can analyse how elements of a story interact (setting affect characters, etc.).
Characterization
What are traits?
Watch the video:
● An author, writes: “The girl was very patient.” This is an example of _____.
● A character, Nicki, is friendly. The author shoes this by having Nicki sit down at a lunch table with a group of kids she doesn’t know and introduce herself. What is the author using to show Nicki’s trait?
● Read the following sentences from a story. Choose the character trait that best describes Grandpa.
- Grandpa was 85 years old and had gone through many experiences in his life.
- Everyone in Grandpa’s build went to him for advice. He always had the right answers.
- He helped people with their problems and gave them recipes to try.
- “I’ve never met someone who knows as much as you do, Gramps!” exclaimed Simon.
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EXPLORE / TŪHURA learning intentions:
- We are EXPLORING how a great paragraph is organised.
- We are EXPLORING how to write a great paragraph using SEXY and PEEL structure based on the relationship between the writing and the intention.
- We are EXPLORING the characters within a story and ANALYSING thier traits.
- We are EXPLORING how a great paragraph is organised.
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Welcome back to Term 4 - it's a busy term with lots to over, EAsttle testing, ceremonies, assemblies, celebrations and fun to be had.
Let's get to it.
Session 1 this week is Library, don't forget to bring your books back.
Moving into Narrative Writing - Myths and Legends
Check out information on your Google Classroom
Learning objectives: Intentions for the development of knowledge, skills and understanding
Class Aims:
To understand what myth, legend and folktales are.
To put my hand up if I have a question.
All Should:
Be able to understand what a myth, legend and folktale is.
Listen attentively, with minor interruptions remembering the class rule of hands up.
Discuss with their partner what they think a myth, legend and folktale is.
Most Should:
Be able to pinpoint major differences between a myth , a legend and folktales.
Listen attentively without interruptions.
Discuss and evaluate local myths, legends and folktales.
Some Should:
Understand and internalise all differences between myths, legends and folktales.
Listen attentively and make notes regarding the topic.
Discuss and evaluate key differences, and have a wider knowledge of local stories and wider stories.
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PLAN & DO / WHAKAMAHI learning intentions:
- We are PLANNING our writing so that we can create our own myth of creation or myth of becoming.
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PLAN & DO / WHAKAMAHI learning intentions:
- We are PLANNING our writing so that we can create our own myth of creation or myth of becoming.
Lesson Three - Odysseus and the Cyclops
Starter:
ALL: Create a mind map of adjectives that you could use to describe a beach.
MOST: Create a list of similes that you could use to describe a beach.
SOME: Write a short paragraph including adjectives and similes that describes a beach.
Create similes for the following wordsAfraid
Big
Mean
Clever
Chew
Roar
Hungry
Said
Read the myth in Google Classroom.
Create a timeline / sequence of events in your exercise book.
Answer these questions:
What do you think Odysseus is like as a leader? Give reasons for your answers.
What do you think about the way the Ithacans take the sheep before asking the owner’s permission?
What words does the writer use to describe the Cyclops? What image do these words help create of the Cyclops?
What do we learn about Odysseus from the plan he devises and by calling himself Nobody?
At the end of the story, what is Odysseus’s ‘big mistake’ and why is it a mistake?
Main Activities:
Select one of the following topics and complete a descriptive paragraph.
- You are one of Odysseus’s men. Write a descriptive paragraph in which you describe the events inside the cave including when you first saw the Cyclops. Focus on what you could see, hear, smell, touch, taste. Think about perspective – how do you view Odysseus?
- You are Odysseus. Write a descriptive paragraph in which you describe the events inside the cave including when you first saw the Cyclops. Focus on what you could see, hear, smell, touch, taste.
- You are the Cyclops. Write a descriptive paragraph in which you describe how you feel once you have been blinded. Think about how your senses will become more heightened.
A few things you must try to do:
Use adjectives (lots!) and underline/highlight them.
Use a thesaurus to vary your vocabulary.
Use similes to develop your descriptions.
Use your senses to inspire your descriptions.
Use paragraphs and correct punctuation.
Try and use ! to show character emotion.
Homework:
Draw a picture of what you think the Cyclops looks like.
Underneath your drawing, write a descriptive paragraph that describes your Cyclops and how terrifying he is.
(Use adjectives AND similes)
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