Filmmaking for Curricular Attainment - Amazon Web Services · 2020-01-27 · Filmmaking for...

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Into Film is a trading name of Film Nation UK. Registered Charity number 1154030.

Filmmaking for Curricular AttainmentOur resources are designed to be used with selected film titles, which are available free for clubs at www.intofilm.org

Practitioners’ notes

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Our resources are designed to be used with selected film titles, which are available free for clubs at www.intofilm.org

Filmmaking for Curricular Attainment

Session outline

Session length: two hours – full day

This session contains three activities to explore using filmmaking to raise attainment across the curriculum.

It is suitable for teachers who are at the start of their filmmaking journey.

Please note: This session has been designed to be delivered over a full day. It is possible to shorten this down by

choosing to concentrate on certain elements and activities, however certain aspects of the session are recommended

for inclusion.

These are:

• Introduction

• Camera Shots

• Record and Playback

• 5,4,3,2,1

• The Into Film offer

• Planning

• Evaluation

Resources needed:Practitioners should find out what equipment the school has to undertake filmmaking in advance of the session. For

Stop Motion Animation iPads are required and tripods are recommended. If a school has iPads, please advise the session

organiser that a minimum of one iPad/camera between three is required.

Practitioners should download the resources pack in advance of the session.

• Filmmaking for curricular attainment notes• Filmmaking for curricular attainment presentation

The following items should be printed for the participants in advance of the session:A Camera shots sheet (one per person)

A Film viewing mind map (one per person)

A 5, 4, 3, 2, 1 planning sheet (one between three)

Story mountain/Film planning axis/Hero’s journey sheets (one per pair, if you are delivering a whole day session)

A storyboard sheet (one per group, if you are delivering stop motion animation)

A set of filmmaking job cards for each group of six participants (if you are delivering stop motion animation)

Learning outcomes for participants:• Increase confidence in filmmaking techniques and using equipment in the classroom

• To identify ways to apply filmmaking in the classroom and links to attainment

• To identify the life skills developed through filmmaking

• To develop an aesthetic sense behind filmmaking and how it can enhance enjoyment and understanding

of the curriculum

• To understand the different roles involved in filmmaking and how these can be applied across different groups,

times and scales.

Ice breakersOn slides 2-5 of the accompanying Filmmaking for curricular attainment presentation there are a selection of

icebreaker activities you may like to use before starting the introduction to the session.


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Introduction• Using slide 7 explain the aims of today’s session. This section of the session is designed to demonstrate the benefits

of filmmaking to improve attainment across the curriculum.

• Play one example of Record and Playback from slides 9-11 and an example of 5, 4, 3, 2, 1 from slides 13-15.

• Explain that the first film demonstrates the Record and Playback technique and the second film demonstrates the

5,4,3,2,1 technique., and they will be trying both in this session.

• Give participants a few minutes to discuss how they think making films like this can help students to learn and retain

elements of the curriculum.

• Lead feedback using slides 16-18 to cover the three key areas.

• Using slide 16 explain how planning and making a film to explain a concept can help students to plan pieces of

extended writing and can be an excellent way of consolidating and planning ideas before completing a written task.

Filmmaking helps learners to create a structured in-depth examination of a topic and evolve an idea or argument

with a persuasive narrative. Filmmaking engages students and helps them to retain information for longer and are

easily reviewed as a reminder of previous learning.

• In our digital age, students need a range of adaptable skills to present their ideas and prepare them for the way

information is presented in the workplace and wider world. Using slide 17 explain how students demonstrate and

acquire valuable life skills that are necessary for success in the workplace.

• Using slide 18 discuss using filmmaking for assessment, to prevent assessment becoming formulaic for you and

your learners, and how film provides accessible evidence for your school/organisation and parents to demonstrate

young people’s learning and progress.

• Explain that in this session participants will learn about and practice filmmaking techniques they can integrate into

their everyday practice, and that integrating filmmaking in lessons does not necessarily involve time off timetable

or time-consuming projects. In this session we will explore how filmmaking can be integrated into an educators

repertoire and does not need to be seen as a soft option or special treat.

Activity one – Camera shots• Before starting filmmaking it is a good idea to get to grips with equipment and improve understanding of basic

camera shots.

• Give out the Camera shots sheet on page 7 and display slides 19-24. Discuss when each shot might be used, for

example an extreme close-up may be used to tell us about the character’s feelings or the significance of an object

in the story.

• Watch the clip ‘entering the chocolate factory’ on slide 25. Ask the participants to shout out when they see one

of the shots. Talk through slides 26-30 to discuss with the group when different shots were used in this sequence

and why.

• Give out the recording equipment (iPads, flip cameras etc.) that participants will be using in the session.

As necessary, talk through how to switch on the device and enable the video camera mode. Ask participants to

simply record a good example of each of the five shot types. They can either use a person as the focus or an object.

Now ask for a group to volunteer to have their shots played on the screen at the front and ask the rest of the group

to guess which shot they are trying to achieve, discuss what the filmmakers need to change to make the shot type

less ambiguous, as necessary.

• If you are using iPads, attach the iPad to the Whiteboard and ask a pair of participants to model different shot types.

Explain that these whole group exercises can help students to learn from each other and consolidate knowledge

and understanding of some basic camera shots.


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Activity two – 3Cs and 3SsIf the participants have recently completed Into Film Raising Literacy Attainment Through Film CPD, they may only require a reminder of

the 3Cs and 3Ss on slide 31.

If participants have not previously completed Into Film CPD, deliver the following activity.

• Give out the Film viewing mind map on page 11.

• Explain that they will be watching the original trailer for Mrs Doubtfire (12, 1993). Play the trailer on slide 32. After they have watched it,

give participants two minutes to discuss how the 3Cs and 3Ss were used to convey the message, genre and meaning of the film.

• Explain that now they will watch a different version of a Mrs Doubtfire trailer. You may like to play the second trailer as a surprise

rather than introducing it, depending on your audience. Play the trailer on slide 33. After viewing ask participants to discuss how

3Cs and 3Ss were changed to convey different meanings and ideas. It is important at this point to ensure teachers understand

that all these different elements have an effect on the film when making it.

• Explain that when students have the opportunity to create their own films and encode meaning within them using the 3Cs and

3Ss, they will become more proficient at analysing these elements in films and other texts.

Activity three – Record and Playback• Using slide 35 explain that earlier we watched an example of Record and Playback, this is a really simple filmmaking technique

to encourage students to share their ideas quickly and succinctly.

• Show the second example of Record and Playback on slide 36 to remind the participants about the technique and the application

of the technique in another curriculum area.

• Use slides 37-42 to explain how to execute a successful Record and Playback film. This simple guidance helps learners to plan their

work and avoid ‘hosepiping’. Give the participants five minutes to discuss and write down as many ways as they can to apply this

technique across the curriculum. Ask each group to share three ideas.

• Display slide 44 and explain any of the examples from curriculum areas the group did not cover. Explain how important it is to give

students a clear brief that focuses their output, but also allows for creative interpretation.

• Ask the group to work in small groups of three or four. Ask them to choose a curriculum area where they could use Record and

Playback, write a student brief and produce an example film. Give participants a maximum of 15 minutes to do this. At the end of the

time allowed ask participants to either swap devices to watch one or two other films made by another group, or watch the films on

the large screen, if you have time. Each group should identify the curriculum area and the brief the filmmakers addressed.

• Discuss the benefits of Record and Playback as a short focussed activity, and circumstances where learners can be given

complimentary briefs, rather than an identical brief, to help build a whole group narrative or timeline quickly, or to demonstrate

different interpretations or arguments.

• Additional benefits of Record and Playback films are that they can be replayed next lesson to remind everyone what you have been

working on, showcased quickly to parents via email or at parents evening, and when students become proficient, set as homework

using the class iPads or learner’s phone.

Activity four – 5,4,3,2,1• Explain that this technique is a little more time consuming, but can allow students to consider different elements to communicate

ideas and follow a more detailed brief.

• Using slide 48 explain the 5,4,3,2,1 brief. As with Record and Playback the activity takes place over a short period of time to keep

learners focussed as well as using their time management skills. This also makes it ideal for use in the context of a lesson.

• Give out the 5,4,3,2,1 criteria sheet on page 12. Explain that they are going to watch a 5,4,3,2,1 film made by teachers and they are

going to decide how well they fulfilled the brief.

• Play the film on slide 49 and give the participants a few minutes to discuss it in relation to the criteria and lead feedback.

• Show slide 50 and explain how the 5,4,3,2,1 brief can be adapted to make it a useful tool across the curriculum.

• Divide the participants into groups of four or five and ask them to prepare a brief related to their curriculum area. Explain that the

original 5,4,3,2,1 brief does not have to be radically changed and they can simply define the curriculum area or question for the

students using the 5,4,3,2,1 planning sheet on page 10. The extent to which the participants change the brief will depend on what

they would like students to achieve. Adapting the brief, but maintaining the 5,4,3,2,1 model ,will help you to keep it fresh for students

while building on their filmmaking experience and familiarity with the format.

• Give the participants approximately ten minutes to agree a brief and a maximum of 30 minutes to complete the filmmaking task.

• Ask participants to either swap devices and watch another group’s film and identify the curriculum area, or watch all of the films on

the large screen if time allows.


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Planning larger scale filmmaking projectsWhile continuing to film in sequence, without the need for editing, students can use their knowledge of the 3Cs and 3Ss, to undertake

slightly more complex narratives.

• Using slides 52-54 and copies of the worksheets pages 13-16 of these notes, discuss some planning models that can help students

plan a coherent and creative narrative. These planning models can also be used to plan pieces of writing and help students to identify

the similarities between the structure of a film text and other texts.

• Using slide 55 discuss effective use of a storyboard to translate the planning model into shots. Explain how a storyboard should not

be used a comic strip, but to plan each shot and label it to explain why it is there. For example on the Story Mountain students may

have written ‘Once Upon a time there was rabbit who lived in a wood’, the shots to communicate this idea, might be an establishing

shot of a wood, followed by a close-up of the rabbit’s hole and then a mid-shot of the rabbit asleep in the hole. There is an example

of a hero’s journey on page 13. Explain that after students have planned the narrative of their film they can start to plot the shots on

the planning axis on page 16, this gives students an understanding of the time given to each area of the narrative.

• Using slide 56 discuss the creation of interesting characters. Using Role on the Wall, students can plan not only what their character

looks like, but what they feel and what other characters and the audience think about them.

Activity five – Stop motion animationBefore the session you will have set up 3-6 animation stations, so that participants have the chance to try different types of Stop Motion Animation; Claymation, paper cut-outs, silhouette and scaled up animation.• Using slides 58-60 explain the origins of stop motion animation. Explain that before students embark on their own filmmaking

projects it is important for them to understand the principles behind the technique.

• Click through slides 61-81 to demonstrate the persistence of vision proved by Eadweard Muybridge using stills of a galloping horse.

• Creating Thaumatropes can help young learners to experiment with the persistence of vision.

• Most people know about Claymation, as they have seen one of the Wallace and Gromit films, and this method of stop motion

animation tends to be what people think of when you first start out.

• Play the example Claymation film on slide 84. Using slides 85-86 explain the tips for successful Claymation. In particular creating

simple and strong characters/creatures and objects. Make sure they have a solid base and students create them using thick balls and

cylinders of modelling clay. For young learners experimenting to create good quality models can form the basis of a lesson before

embarking on the filmmaking.

• There are other stop motion animation methods. Play the paper cut-outs film example on slide 87.

• Using slides 88-90 explain the tips to making successful paper cut-out animation. Young learners may find it challenging to draw

people, animals and objects with clearly defined joints or points for cutting, therefore providing them with templates like the image

on slide 89 will help them. This technique can really encourage those learners to think about how people, animals and objects move

and focus on detail.

• Using slide 91 explain silhouette animation. This requires a light box, which can be purchased very cheaply at a craft shop, and

produces really striking effects by placing different coloured tissue paper on the background and simply moving black card cut outs.

• Play the example silhouette animation on slide 91, and explain the technique using slides 92-93.

• The final technique is scaled up animation. This can be achieved either by working on a large scale using paper cut outs on a wall

or window or animating the students moving against a background. The first technique can work well with students who find the

other techniques too fiddly, but this technique does require more space than others. Animating the students can create more roles

for students who want to be in front of the camera, however it does take patience to get a good result, and younger students would

need more help to devise a system for moving themselves, objects and items in the background and capturing the shots effectively.

• Play the example on slide 95.

• Show slide 96. Explain that of course the technical aspects of creating a stop motion animation are important, but to integrate this

technique into your teaching, a clear curriculum linked focus is required, these are a few examples. As it will take students a fair

amount of time to create a short piece of animation, dividing the task into sections and giving students one section to complete then

editing it all together can speed things up and divide up the work, so everyone has a go. Alternatively using the technique for short

repetitive processes, so the short piece of animation can be looped, also works well.


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• Give the participants a maximum of ten minutes to plan a brief for the animation they will produce today.

• Use slide 97 to give examples of the ways that participants can organise their groups of learners, as they may be working with

groups of up to 30 young people. Explain that they can set-up workstations for groups of five learners, as you have today. However

capturing the animation does require some patience and precision, which may not suit all learners, and as an educator they may

find supporting several animation stations a challenge. It is also important to focus learners to think about the different aspects of

planning and producing a film, which is not all about the filming.

• Using slide 98 discuss the use of the Filmmaking job cards. Give each group one set, which can be found on pages 17-21 of

these notes. There is a blank version so that teachers can create bespoke roles for different projects. These cards can have a

hole punched into the top and attached to lanyards or pieces of ribbon. These cards can help to remind students what their

role is and take ownership of it.

• When participants have created their characters and backgrounds using the appropriate materials, connect an iPad to the large

screen and demonstrate how to open and start iMotion. There are also step-by-step instructions on slides 99-101.

• Allow at least 40 minutes for participants to complete their animation providing support as necessary. Some participants may

complete their animation before others and can then work with iMovie to edit out any mistakes and add sound effects and titles etc.

• Instructions on how to export a piece of film to iMovie and step-by-step instructions to perform basic editing are on slides 102-104.

The simple Into Film guide to using iMovie is available at www.intofilm.org/filmmaking, click on Resources on this page.

• Usually the animations that are created are about two minutes long, so it is possible to show the whole group each animation

on the large screen.

• Encourage participants to discuss what challenges they might face in focussing students in this filmmaking process, and what

solutions they can share.

Participant planning activity• Ask the participants to work in groups to complete an individual Planning sheet on page 24.

• Ask participants to feed back their plans to the whole group, and explain how participants can showcase their student’s work in Film

of the Month.

Film of the MonthUse slide 106 to explain Into Film’s Film of the Month. We welcome submission of any films made in a school or non-school setting by

children and young people aged 5-19. The winners each month receive a Goody Bag.

Further filmmaking opportunities with Into FilmUsing slide 107 explain where participants can find more support for their filmmaking. If time allows visit the Make Film – Greatest

Generation site. This project ties into the 2015 BBC Two series Britain’s Greatest Generation and provides resources and archive film/

sound from the BFI and British Council to enable documentary filmmaking. The site features an uploader facility, which is an excellent way

to showcase your work to the wider world.

http://www.intofilm.org/filmmaking

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Characterisation - Roles on the wall

Characterisation - Role on the wall

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Activity

(based on ‘The Hero with a Thousand Faces’ by Joseph Campbell)

The Ordinary WorldThe purpose of this step is to introduce the hero. We meet our hero in their normal world. Traditionally,

the hero has a pretty normal life but, by spending time in his company, we come to realise that he aspires

to escape his rather boring world.

The Call to AdventureThis is where our story begins. We know that our hero has the potential to do heroic deeds, but

sometimes they need a boost to sent them to their journey. This is the function of the ‘call to adventure’.

This step gives the hero (and the audience) a tantalising glimpse of the adventure that is to come. The call

can be represented in many different ways. It can come in the guise of a letter, but an event, warning, or

even a threat can force our hero to leave his ordinary world and travel to a new, ‘special world’.

Refusal of the CallAnd so our hero has accepted ‘the call’. They are ready to leave their normal world and travel to a new

world. What is the first thing our hero does? They reject the call. Why? It might be that our hero is afraid

of the unknown. It might be that they are not courageous enough to proceed. Maybe they don’t want

to leave the ones they love in the ordinary world. Could this be the end of the trip? Has the story ended

already? Thankfully, the answer is no. The refusal of the call has two important functions. The first is to

create a situation in which you can empathise with the hero. After all, if you were in the hero’s shoes,

what would you do? The hero is just like everyone, prone to the same fears and the same uncertainty.

The second function is to force you to care about our hero. You will be following the hero on every step

of their journey. Over the course of the journey, you will invest a considerable amount of emotion in the

hero. The hero is, therefore, duty bound to give you back the time and emotion you have invested in

them. The hero, inevitably, decides to continue their journey – either by their own initiative or by outside

influences forcing them onwards.

MentorThe hero has accepted the call. They are ready to begin their journey. But does the hero know enough to

be able to succeed? Does the hero have the skills to be able to ensure success? The role of ‘the mentor’

is to teach the hero the skills they will need for their journey into the special world. The mentor can be a

person or an object. It can be a book, a picture, a poem, or even a can of pop!

Crossing the First ThresholdThe hero is about to take the biggest step of their life. After this point there is no turning back. The hero

has received and rejected the call; the hero has learned one or two things from their mentor; the hero has

left their ordinary world and is now about to begin an adventure in a magical special world.

Tests, Friends and EnemiesThe hero has crossed over from one world into a new special world. This special world is completely

different to anything the hero has ever seen. If the hero is to succeed they will have to learn the rules of

this special world. They will have to learn who to trust, and who not to trust. Here the hero will meet new

friends but make new enemies.

The Hero’s Journey

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Activity

Approaching the Innermost CaveThe journey so far has been full of adventure and excitement, but now the time has come for the hero

to do what they came to the special world to do. The hero has learned a lot in a short time. They must

ensure that everything is ready for their biggest test so far. The hero has changed much since we first met

them. It is time for them to show just how much of a hero they are.

OrdealThe hero is halfway through their journey and is about to face their biggest test. And what happens to the

hero as they take on ‘the test’? They die! But the hero has come too far for the journey to end so suddenly.

At the very last second, our hero is saved from the jaws of doom. By passing this ordeal, we can see that

the hero has what is necessary to win ‘the prize’ they have travelled so far to find.

PrizeThe hero has survived death and overcome their worst fears. They have killed the dragon and won the

prize they came to find. A prize can be anything. A special sword, magic potion, shiny ring, knowledge,

even love. Whatever the prize, the hero has a reason to celebrate. But the celebration will be short lived.

Our hero must now return to his ordinary world. They must bring back the prize they have won. But there

are many who will want to stop his new goal.

The Road HomeThe end of or hero’s journey is fast approaching. The hero must travel back to his ordinary world and

share the knowledge and prizes he has won. But this journey will not be easy. The hero has entered the

special world and taken its greatest prize. Unfortunately, there are those who will seek to stop the hero

from getting back. The road home is not an easy journey.

ResurrectionBefore completing his journey the hero must face death one last time. Once again, our hero dies. This is

is the crisis and the journey’s most exciting moment. It’s a chance to see if the hero has learned enough

skills to survive anything. Like the ordeal, a ‘death’ can be represented in many different ways. But no

matter what the death is, at the very last second the hero is reborn or resurrected. The important thing

is that the hero will be transformed after their resurrection. The hero at the beginning of the story is very

different from the hero at the end of the story. The hero has proven they have the skills to be able to

accept the status of a hero.

Return with the RewardThe hero returns to the ordinary world with their prize. It’s time to celebrate. It’s time for the hero to tell

everyone about their journey and their adventures. It is time for the story to come to and end.

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ain

men

t

into

film

.org

17

Pla

nn

ing

yo

ur

sto

ry

1) T

he

Beg

inn

ing

Intr

od

uc

e t

he

mai

n

ch

arac

ters

an

d d

esc

rib

e

the

se

ttin

g. W

hat

will

you

r fi

rst

sen

ten

ce

be

?

2) T

he

Bu

ild-U

p

Wh

at t

hin

gs

hap

pe

n?

Wh

at c

lue

s ar

e t

he

re?

Wh

at is

sai

d?

Ho

w d

o y

ou

bu

ild u

p t

he

exc

ite

me

nt?

3) T

he

Pro

ble

m

Th

ing

s m

igh

t g

o w

ron

g!

Is t

he

re a

mys

tery

, or

do

terr

ible

th

ing

s h

app

en

?

Are

th

ere

an

y d

isag

ree

me

nts

?

4) T

he

Res

olu

tio

n

Ho

w a

re t

hin

gs

go

ing

to

be

so

rte

d o

ut?

Pro

ble

ms

mu

st b

e s

olv

ed

. Th

ink

abo

ut

eve

ry s

tep

.

5) T

he

En

din

g

Do

es

the

sto

ry e

nd

wit

h

eve

ryo

ne

hap

py?

Wh

at

hav

e p

eo

ple

lear

ne

d?

Hav

e c

har

acte

rs c

han

ge

d?

Pla

nn

ing

yo

ur

sto

ry

Film

mak

ing

fo

r C

urr

icu

lar

Att

ain

men

t

into

film

.org

18

Act

1A

ct 3

Act

2

Wh

ole

cla

ss P

lan

nin

g A

xis

Tit

le

Film

len

gth

15%

15%

70%

Intr

od

uct

ion

Set

up

Pro

ble

m

Jou

rney

into

th

e u

nkn

ow

n

Twis

t an

d t

urn

s

Bre

akin

g p

oin

t

Fin

al

con

fro

nta

tio

n

Clim

ax

Res

olu

tio

n

Wh

ole

cla

ss P

lan

nin

g A

xis

Film

mak

ing

fo

r C

urr

icu

lar

Att

ain

men

t

into

film

.org

19

FOLD

Film

mak

ing

job

car

ds

Film

mak

ing

fo

r C

urr

icu

lar

Att

ain

men

t

into

film

.org

20

FOLD

Film

mak

ing

job

car

ds

Film

mak

ing

fo

r C

urr

icu

lar

Att

ain

men

t

into

film

.org

21

FOLD

Film

mak

ing

job

car

ds

Film

mak

ing

fo

r C

urr

icu

lar

Att

ain

men

t

into

film

.org

22

FOLD

Film

mak

ing

job

car

ds

Film

mak

ing

fo

r C

urr

icu

lar

Att

ain

men

t

into

film

.org

23

FOLD

Film

mak

ing

job

car

ds

intofilm.org 24



Planning sheet

intofilm.org 17

Worksheet

Our resources are designed to be used with selected film titles, which are available free for clubs at www.filmclub.org

Planning template

Please put at least one idea for incorporating film into your classroom into the boxes below

Shorttermplanning–Whatcanyoudotomorrow?

Mediumtermplanning–Whatcouldyouputintothisterm’splanning?

Longtermplanning–Howcouldyouincorporatefilmintonext term’splanning?

Raising literacy attainment through film - Level one

Planning template

Filmmaking for Curricular Attainment - Amazon Web Services · 2020-01-27 · Filmmaking for...

Documents

Transcript of Filmmaking for Curricular Attainment - Amazon Web Services · 2020-01-27 · Filmmaking for...