Short Film in Language Teaching

Answer sheet Short Film in Language Teaching
SHORT FILM
IN LANGUAGE
TEACHING
WEEK 1 Guides and activity sheets
1.5 CS AND SS – CINE-MINIS BOOKLET – THINKING ABOUT FILM

1.5 TELL ME – CINE-MINIS BOOKLET – TEACHING WITH SHORT FILMS
1.5 BASIC TEACHING TECHNIQUES – MOVING IMAGES IN THE CLASSROOM (excerpts)
1.6 ENGLISH TRANSCRIPT
1.6 TELL ME GRID ON SOUND
1.8 FILM, MUSIC AND MOOD ACTIVITY – FRENCH
1.8 GENRE CARDS – ARABIC
1.8 GENRE CARDS
1.9 SINGLE SHOT STORYBOARD TEMPLATE
1.9 SINGLE SHOT STORYBOARD TEMPLATE – GERMAN
1.10 STORYBOARD EXAMPLE
1.10 STORYBOARD TEMPLATE
1.11 PUZZLES, PRIZES AND PREDICTIONS TELL ME GRID
1.15 PUZZLES, PRIZES AND PREDICTIONS TELL ME GRID
1.16 APPS TO SUPPORT FILMMAKING
1.16 A FEW TECHNICAL IDEAS...
1.16 DOWNLOADING AND EDITING MEDIA
1.16 GUIDE TO EDITING WITH IMOVIE
1.17 THINKING ABOUT ASSESSMENT USING FILM TABLE
1.17 ASSESSING LANGUAGE AND LITERACY SKILLS
1.17 THINKING ABOUT ASSESSMENT USING FILM
bfi.org.uk | © British Film Institute 2018 intofilm.org | © Into Film 2018

Guide Short Film in Language Teaching
Ciné-minis
SHORT FRENCH FILMS
THINKING ABOUT FILM
For teaching notes and guidance go to: www.bfi.org.uk/education/cineminis
Cine-minis DVD insert

bfi.org.uk ART.indd
| © British Film 2Institute 2018 intofilm.org | © Into1/9/10 10:55:31
Film 2018
Thinking about film
In this section we outline and explain a number of key concepts that

are useful in bringing short films into literacy and language learning.
If you have used our previous resources (Starting Stories 1 + 2 and Story
Shorts 1 + 2, Screening, Moving and Real Shorts – see www.bfi.org.uk/
education) you will know about the ‘Cs and Ss’: a way of categorising and
analysing techniques in film that either share features with other modes
of storytelling or which are distinctive to film. The original ‘family’ of Cs
and Ss comprised:
• Character, Story, and Setting (categories that could be applied across
film, print, and other fiction media)
• Camera, Colour, and Sound (categories specific to film).
Here we describe some approaches to the films in the pack using these
categories, as well as some new ones:
• Symbol can be applied to films, books, oral stories, and pictures
• Sequencing – the order of events and ideas in a text – is a subset
of ‘Story’
• Composition (called ‘mise en scène’ in film studies) refers to the ways
in which objects, people, light are arranged in a single shot or frame
• Cutting refers to one aspect of ‘editing’ – how shots are juxtaposed
against each other, their length, and the type of transition which
links them
• Category refers to the genre or format in which we might position
a film.
NB: the ‘Cs and Ss’ approach offers possibilities for vocabulary work
in French, for example in identifying colours, places, character types
and adjectival descriptions of mood.
For teaching notes and guidance go to: www.bfi.org.uk/education/cineminis 15

Characters
There are considerable overlaps in the ways we can approach learning

about character in books and on film. Picture books offer a bridge between
the two media. Children learn very early that in stories ‘not all characters
are people, and not all people have to be characters’. They learn about
character traits and behaviour, what we can expect of them, and how to
predict what they’ll do; to infer feelings from facial expressions, gesture
and dialogue, and how to cross-refer other characters’ responses to them;
that characters appearing in specific settings will behave in particular
ways. And then one of the pleasures they learn to take from stories is that
characters are capable of surprising us completely! Short French films
offer children the chance to see and listen to French-speaking characters,
and to re-create those characters in target-language writing and drama
and role-play.
The characters we meet in a film are revealed to us via:

• What they look like, eg the dress and demeanour of the couple in
Le baiser, or the lead character in Un bisou pour le monde, or in Le génie
de la boîte de ravioli, or the different dresses tried on by the young
woman in Le bon numero
• The settings they are presented to us in, eg the late night banlieue
railway station in 00h17, or the well-to-do suburban street of the film-
within-a-film of Les crayons
• How they behave in different situations, eg the change in behaviour of the
pencils in Les crayons, between watching the film, and leaving the cinema
• How they interact with other characters, eg the various different
responses to ‘L’Atome’ in 00h17 which end in him leading the solar
system dance, or the relationship between the lead child and his
teacher in Un bisou pour le monde
• How they speak/what they say, eg the differences in pitch, timbre and
volume of voice between the mouse and the lion in La queue de la souris
• Sound and/or music associated with them, eg the different uses of
music and singing in Bouts en train.
16
Setting
The choice of setting to a large extent determines the narrative – what

can happen in a story. It can identify a mood or situation quickly, which is
especially important in short films when time to tell the story is so limited,
and can support actors, helping the audience to understand the actions
and emotional lives of the characters.
In live-action films there are two kinds of settings:

• Interior – either a specially built set in a film studio or an actual
location, eg a house or car
• Exterior – either a set in a film studio made to look as if it is outside,
or an actual location (which may be used exactly as it is found or
adapted to look appropriate for the film).
Le génie de la boîte de raviolis
Les crayons
In animated films, settings are created especially for the film:
In 2D, eg the jungle of La queue de la souris, or the village and forest of

Le loup blanc, or the train of Bouts en train; or the landscapes in Le génie
de la boîte de raviolis
In 3D or CGI – virtual 3D – eg the pencil sequences in Les crayons
Animation enables filmmakers to explore spaces that would be unlikely

or inaccessible in live-action; for example, a cinema populated by an
audience of pencils (Les crayons).
The films in this resource give us a wide range of French settings – the
banlieues, or down-at-heel suburbs of large cities; ‘rural France profonde’;
the seaside; French trains; metropolitan life.

Setting also includes time, duration and period as well as space and place.
La queue de la souris is set in a generic ‘jungle’ setting but not in a specific
period – which is characteristic of a fable – while by contrast, 00h17 is very
recognisably set in the present day, and the dress and look of Le baiser put
it in the era of silent cinema, between 1910 and 1920 (although it is also
set within an unreal ‘film world’.)
Filmmakers can choose the perspective they give us on a place; for

example, all of the action in 00h17 is set on a train platform, while the
opening sequence of Les crayons is put in a completely new perspective
when the camera pulls back and we see that it’s just a film-within-a-film,
and the settings of Le génie de la boîte de raviolis change dramatically when
our hero makes his wish.
Story
Approaches to studying story in film ought to cover some sense of the

ways in which events in a narrative are linked together. Strictly speaking,
a plot is a nothing more than a sequence of story events (at minimum two)
linked together by cause and effect. The famously cited ‘minimal plot’ is
‘the king died and then the queen died of grief’. The sequences of cause
and effect in the films on this DVD vary, from the ‘hand of God’ in Le baiser
responsible for turning the world upside down, to the lion of La queue de la
souris, hoist by a petard made from his own greed. The leading woman of
Le bon numero to some extent structures her own story, by making choices
offered to her by the mobile phone competition – though of course the
‘factory presets’ in the end determine the choices she can make. And the
story of Le génie de la boîte de raviolis goes through a generic story sequence,
but with a twist.
Sequence
A helpful way of analysing and discussing films, or any texts with a

linear shape, is to break them down into sequences. The strict narrative
form follows five phases – exposition, development, complication, crisis,
denouement. Films like Les crayons, 00h17, Le baiser, Bouts en train, and
Le bon numéro to some extent go through these stages.
18
Symbol
All the films in this compilation, to some extent, use symbolic resources
or features. In a sense, both La queue de la souris and Le loup blanc function
as a symbolic narrative: in both, the story is not strictly what it is ‘about’,
but have explicit lessons to teach us about greed and resourcefulness and
power in the first film, and about how adults and children see the world
differently in the latter.
There is symbolic material on a micro-level too, even in the live-action

films. The character ‘L’Atome’ in 00h17 is symbolically both the smallest
but also the most fundamental agent in the story, just as atoms are the
building blocks of the universe.
Sound
Sound helps to tell the story in a film in two ways:

• Sounds within the world of the story (often referred to as diegetic
sound), eg the sounds of the station and the train in 00h17
• Sounds outside the world of the story (often referred to as non-diegetic
sound), eg the music in 00h17, which accompanies the ‘performance’
of the solar system.
In animated films, the sound effects, dialogue and music are recorded
separately. Exactly when the dialogue is linked to the images depends
on the animators, ie whether the movements and expressions of the
characters are animated to fit pre-recorded dialogue, or the voice cast
use the images as a starting point for their characterisation. In live-action,
most of the sound and dialogue are recorded, in sync, with the camera as
it films the action; the music is added later. The procedure in which the
picture and all elements of the soundtrack come together to produce the
finished film, is called the sound mix.
Just as visually the camera, colour and setting all contribute to telling
the story, the soundtrack may contain several elements, each of which
constitutes a ‘layer’. It is possible for each of these layers to be used
simultaneously:

• Sound effects are often added sounds, not recorded in sync with the
picture. They are either related directly to the action of a particular
scene (called ‘spot effects’), like the screech of the train’s brakes in
Bouts en train, or for a general atmosphere (called ‘atmos effects’),
eg the jungle sounds in La queue de la souris. The acoustics, timbre and
volume of sound effects can all give us clues and cues about setting:
for example, the echoing acoustic of the opening of La queue de la souris
gives us cues about the jungle setting before we actually see it.
• Music may be specially composed, or exist already and be chosen
for its appropriateness. The music in Le baiser has been composed
to accompany the period setting of the film, and in Bouts en train the
music actually carries the narrative. In Les crayons the music gives us
strong cues about genre and mood – from the romantic orchestration
of the opening sequence, to the suspenseful feeling of the middle
sequence, to the ‘closure’ music at the end of the film-within-a-film.
Sometimes music can do the ‘work’ of sound effects, as in La queue
de la souris, where the violin imitates the scampering of the mouse.
Music can be broken down further into instrumentation, tempo,
key and orchestration – see ‘Asking questions – the Tell Me approach’
on pages 24 – 25.
• Silence can be used as a space between sounds to create a ‘pause
for thought’ between actions or dialogue, or to add emphasis to the
emotional content of the action within a scene. Silence is used in
this way in La queue de la souris to punctuate the action and raise the
dramatic tension. (Note, however, that complete silence tends to sound
unreal, so silence is usually filled with subtle atmos effects.)
• Dialogue and voice-over is the final category of sound, and for learners
of another language, this is obviously an important category. Film, as
a rich audio-visual medium, can scaffold children’s engagement with
spoken language, offering narrative context and cues for hearing and
understanding gist and detail. Thus, in La queue de la souris, there are
several occasions where it is clear what the mouse is saying, even if
we don’t understand him word for word (for example, when he is first
caught by the lion we can tell he is saying ‘no no, please don’t eat me’,
and when the lion pauses, it is obvious that the mouse has given him
reasons not to be eaten – that he has a family, or that he can bring
20
something better to eat). Similarly, when the mouse brings a cherry for
the lion to eat, we ‘interpret’ his roar as saying ‘this isn’t enough for me’.
Elsewhere, there is ‘dialogue’ signified by characters gesturing to each
other, and using intertitles (Le baiser), and in Le bon numéro the female
character communicates exclusively by text message!
Colour
The choice of colour contributes to how the film looks and helps to tell
the story. It may contribute to:
• Overall mood, eg the bright primary colours of Le bon numéro or Bouts
en train, which give both films their ‘cartoon’ flavour
• Visual contrast, eg in La queue de la souris or Le loup blanc, enabling
us to differentiate between the different locations and moods and
atmospheres that go with them.
La queue de la souris
00h17
Many children believe that black and white films are boring. However,
black and white can bring out strong and subtle contrasts in light and
shade, and heighten facial expressions, whereas in colour, faces can
almost be ‘invisible’ to us. The monochrome look of 00h17 makes a strong
connection with other black and white contemporary films such as
La Haine, and the same look in Le baiser is deliberately used to denote
‘silent film’.

Camera
In a film, the camera acts almost as a ‘narrator’, leading the viewer

through the story via sequences of camera shots. Different kinds of
cameras are used for animation and live-action filming, but generally
types of shots are referred to as if they are the same for both formats.
In reality there are no ‘close-ups’ in animation; the effect is achieved
by drawing or designing in different scales.
Different types of camera shots are used for different purposes. For
example, extreme close up (ECU) is used for moments of high drama;
mid shot (MS) allows us to see more of a character in his/her setting,
performing actions, such as the girl in Les crayons; and long shots (LS)
establish setting, such as the opening of 00h17 or Le baiser. For more
on camera shots go to the online resource.
Composition
Composition (or ‘mise en scène’) is one of the key visual resources

available to a filmmaker – how he or she disposes the elements of action
and set within the frame. You can ‘freeze frame’ a shot and analyse
its content, focusing on specific features. Freeze framing can support
language learning by annotation of elements in the scene using simple
vocabulary. Elements to look out for include:
• Aspects of actors’ performance – gesture, facial expression, relation
to other actors and to the space they inhabit. For example, much
of the aftermath of the drama and emotional content of 00h17 is
communicated in the final sequence on the train through the facial
expressions of the characters. The characters have experienced some
kind of epiphany, but because they’re on a train they’re not able to
speak to each other, so their experience is expressed through their
expressions.
• Objects in the frame – props, dress, set design. Les crayons features
a particularly sinister pencil sharpener (or taille-crayon); La queue de
la souris features a range of animals (grenouille; oiseau; souris; lapin);
Le bon numéro features characters carrying out a series of actions
(faire le piquenique; recu un texto; jouer; gagner).
22
• Lighting – the source, intensity and type (ie natural or artificial).
In animation, lighting is only implied, by changes in colour, as in
the changing palette purples and blues in Le loup blanc, or the red
and black of La queue de la souris.
• Aspects of composition – lines, planes and patterns. In Les crayons,
the jagged spikiness of the pencils in the cinema audience mirrors the
spikiness of the music, and disrupts the film frame (much as the knife
in the shower scene in Psycho does).
It is important to remember that no shot in a film is actually static:

lighting will change, people will move, the camera will shift its attention
and focus. So for each of the categories above, ask also how the elements
in the shot change.
Le loup blanc
StrictEternum
Cutting
Shots aren’t only edited together to develop narrative continuity;

filmmakers can create juxtapositions that jolt, provoke, or confound us,
often to bind us in to the story, keeping us guessing. The first shot after
the opening sequence of Les crayons jolts us for comic effect – the source
of the screaming on the soundtrack is revealed to be…
Category
One of the understandings that children bring to school, that they develop
almost naturally, or intuitively, is that film can be categorised in a number
of different ways. By the age of three or four they can make distinctions
between live-action and animation, and know what to expect from each.
They have come to understandings of categories of their own, and the
features that define them.

The big distinction to be made in this compilation is between live-action
and animated films, but some of the films inhabit both categories. Les
crayons moves between live action and CGI animation, (so the live action
sequence is less ‘real’ than the animated parts). Le baiser looks like a
silent film, in its use of black and white, the dress of the characters,
and their exaggerated gesture and behaviour. However, the clever use
of post-production techniques brings it closer to animation, completely
undermining our expectations of silent film.
Other films securely occupy a specific genre: La queue de la souris is a

fable, following the story structure made familiar by Aesop, and the task
structure and reversal will be familiar to many children – while others
move beyond genre: 00h17 opens like a ‘banlieue’ or ‘’hood’ film, with
various disconsolate teenagers hanging out late at night on a deserted
railway station platform. But the introduction of the solar system
conversation and the choreographed movement transcend the setting
and the genre.
The Tell Me questions on page 25 indicate ways of talking about categories

of films and how this can help inform investigation of a text.
Les crayons
24
Acknowledgments
In 2009, we were awarded the first Evens Prize for Media Education by the
prestigious Evens Foundation. They invited us to create a new short film
resource that would support children in learning French. We hope that this
will be the first of a new range of resources, supporting learning in other
European languages. Our thanks also go to the Institut Français, the French
Foreign Office, the French Education Ministry and L’agence du court métrage,
especially Hélène Delmas and Nathalie Lebel, for helping us source the films
and clear the rights for this resource.
The first Evens Prize for

Media Education given
by the Evens Foundation.
Our thanks go also to the Esmée Fairbairn Foundation, Shirley Lawes and
Rebecca Wilson from the IoE, and all the teachers that supported the
‘Reframing Languages’ research project. There is more information on this
project in the online guide.
Film and image credits

Le baiser courtesy of Les Films du Varech; Le génie de la boîte de ravioli and
The making of Le génie de la boîte de ravioli courtesy of Folimage; Le loup blanc
courtesy of Sacrebleu Productions; La queue de la souris courtesy of La Poudrière;
Regards libres courtesy of Les Films du Cygne; Bouts en train courtesy of
La Poudrière; Les crayons courtesy of BBDA-Quad Productions; Un bisou pour
le monde courtesy of U+Me; Le bon numéro courtesy of La Poudrière; Tarif unique
courtesy of BBDA-Quad Productions; 00h17 courtesy of Agat Films;
StrictEternum courtesy of Les Films des Trois Univers.
Authors: Mark Reid (British Film Insitute) with the help of Vicky Wilson,
Wendy Earle and Caren Willig
DVD producer: Caren Willig
Further credits for the many people who contributed

to this teaching pack are listed online.
Ciné-minis © British Film Insitute 2010

Ciné-minis
SHORT FRENCH FILMS
TEACHING WITH SHORT FILMS

Teaching with short films
The notes below outline some useful ways of approaching the study
of film in both literacy and language lessons, particularly in the
development of speaking and listening skills. Examples of how to match
the films with language objectives can be found earlier in this booklet.
More extensive teaching notes, including schemes of work and lesson
plans can be found online at www.bfi.org.uk/education/cineminis
Asking questions – the Tell Me approach

In 1993 the writer Aidan Chambers published a book called Tell Me:
Students Reading and Talking (OUP), which has had an enormous influence
on teachers of children’s literature. Based on a questioning framework
developed by a group of teachers, authors and advisors, the book outlined
an approach for eliciting children’s responses to the books they were
reading. The framework – different types of questions under the headings
‘Basic’, ‘General’ and ‘Special’ – is reproduced below in a form adapted for
film, and is translated into simple French in the online resource.
This questioning framework was worked on and refined over a long

period, with teachers and children, in an attempt to ensure that the
questions were generative – ie that they created spaces for children to
talk extensively – and that they didn’t threaten, or imply a right answer.
In a video made for the Learning to be Literate (1999) series by the Centre
for Literacy in Primary Education (CLPE), emphasis is put on the need for
teachers – and children – to learn and to practise how to ask, answer, and
think about these questions. The effect is something like a conversation,
rather than a lesson. As a questioning framework, we also envisage it being
used in a simple form for short question and answer sequences in French,
particularly in the expression of likes and dislikes such as ‘a mon avis’;
‘j’aime/je n’aime pas’; ‘je comprends/je ne comprends pas’.

The Tell Me questions: Adapted for film
Basic questions
• Was there anything you liked?
• What caught your attention?
• Was there anything you disliked?
• Was there anything that puzzled you? That you’d never seen
in a film before? That surprised you?
• Were there any patterns?
General questions
• Have you seen any films like this before? How were they similar?
How were they different?
• How is this different from other films you’ve seen before?
Do you think French films are different from other films you’ve seen?
• Having talked about the film, have you changed your mind about
anything? Seen anything new? Been surprised by anything?
• Would you like to know more about how the film was made?
What would you like to know?
Special questions
• How much time did the story in the film cover?
• Are there parts of the story that took a long time to happen but
were shown quickly? And vice versa?
• Were there particular things in the film – shots, sounds, images –
that you liked or didn’t like?
• How could you have made the film better?
• Has anything in the film ever happened to you?
• What would you tell other people about this film? From the
information in the film, what would you tell other people about France?
• How many different stories can you find in the film?
26
• Where did the story happen? Did the setting matter, or could it have
been set anywhere? Are there parts of the film that are especially
about this place? Are there parts in the film that tell you specific
things about what it’s like to live in France? Or about what French
people might be like? Is the France portrayed in the film very
different from where you live?
• Which character interested you the most? Is that character the most
important person in the film? Is the film really about someone else?
• Did you ever get to know what the characters were thinking or
feeling? Or was the story told from the outside of the characters,
watching them, but never knowing what they were thinking or
feeling? Did you understand everything the characters said? Did it
matter when you didn’t understand everything they were saying?
• Are the characters in the film very different from characters in
other stories you know? Are they very different from people you
know yourself? Are there any similar things about them?
• How would the film have been different if it had been set in England,
or Scotland, Wales or Northern Ireland? Or if the characters were
British instead of French?
In 2003, the BFI approached the CLPE to join in a collaborative research

project investigating ways of working with film in Key Stage 2 classrooms.
The CLPE introduced the Tell Me approach, but with an important
development: instead of a questioning framework, they had been
using grids.
Le Bon Numero
Le Baiser

Acknowledgments
In 2009, we were awarded the first Evens Prize for Media Education by the
prestigious Evens Foundation. They invited us to create a new short film
resource that would support children in learning French. We hope that this
will be the first of a new range of resources, supporting learning in other
European languages. Our thanks also go to the Institut Français, the French
Foreign Office, the French Education Ministry and L’agence du court métrage,
especially Hélène Delmas and Nathalie Lebel, for helping us source the films
and clear the rights for this resource.
The first Evens Prize for

Media Education given
by the Evens Foundation.
Our thanks go also to the Esmée Fairbairn Foundation, Shirley Lawes and
Rebecca Wilson from the IoE, and all the teachers that supported the
‘Reframing Languages’ research project. There is more information on this
project in the online guide.
Film and image credits

Le baiser courtesy of Les Films du Varech; Le génie de la boîte de ravioli and
The making of Le génie de la boîte de ravioli courtesy of Folimage; Le loup blanc
courtesy of Sacrebleu Productions; La queue de la souris courtesy of La Poudrière;
Regards libres courtesy of Les Films du Cygne; Bouts en train courtesy of
La Poudrière; Les crayons courtesy of BBDA-Quad Productions; Un bisou pour
le monde courtesy of U+Me; Le bon numéro courtesy of La Poudrière; Tarif unique
courtesy of BBDA-Quad Productions; 00h17 courtesy of Agat Films;
StrictEternum courtesy of Les Films des Trois Univers.
Authors: Mark Reid (British Film Insitute) with the help of Vicky Wilson,
Wendy Earle and Caren Willig
DVD producer: Caren Willig
Further credits for the many people who contributed

to this teaching pack are listed online.
Ciné-minis © British Film Institute 2010

Ciné-minis © British Film Insitute 2010

Short Film in Language Teaching
EXCERPTS FROM:
MOVING IMAGES IN THE CLASSROOM

A SECONDARY TEACHERS’ GUIDE TO USING FILM & TELEVISION

Moving Images in the Classroom
A S E C O N D A R Y T E A C H E R S ’ G U I D E T O U S I N G F I L M & T E L E V I S I O N
F I L M
EDU C AT IO N
Excerpts from Moving Images in the Classroom written by the British Film Institute, 2000.
CHAPTER 1 Basic Teaching Techniques

e all know how frustrating it can be to show a video saying something, and contributes in some way to its Each technique is set out across three columns. The first
W to pupils and get nothing much back in response overall meaning. Technique 1, Freeze Frame, column describes the activity itself and the second column
apart from ‘it was boring’ or ‘I liked the bit where…’. And concentrates on the visual language of moving images. provides some simple questions, which should help you to
what kinds of question can you ask of pupils other than Technique 2, Sound and Image, helps pupils see how start the ball rolling in setting work or guiding whole-class
‘look out for…’? Using video more productively is not just a important sound is in the interpretation of moving image discussion. Learning objectives are listed in the third column.
matter of knowing some technical terms – though these texts. Technique 3, Spot the Shots, draws their attention These are moving-image specific, but if you accept our
can help. It depends upon recognising that the moving to the editing process. Any of these techniques can be argument that ‘cineliteracy’ supports any subject, then you
image has a complex and dense language of its own that used from time to time in very short sessions to build up should find these useful insights that will contribute to
we have all learned to ‘read’ with such ease while not pupils’ critical awareness of how moving image texts work, communication and understanding in your subject area.
necessarily being aware of our own skills. and your confidence in using the technique to develop
more critical and thoughtful ways of working with moving We have avoided media jargon as much as possible, but the
The eight basic techniques described on the following pages images. techniques necessarily introduce some simple and useful
are designed to help you unravel the codes and technical terms, which are explained in the Glossary at the
conventions of the moving image, and enable you to use a The next two techniques, Top and Tail and Attracting end of this book. To use the techniques you will need, at
wider range of film and video texts in the classroom. As you Audiences, deal with the ways in which moving image minimum, a VCR with a good ‘pause’ facility that enables
and your pupils unpack the layers of meaning, you will be texts are produced and circulated to audiences. Whatever you to view single frames. A ‘frame advance’ feature would
helping them to develop their general skills as more critical, your subject area, it is important to point out to pupils that also be useful. Some of the follow-up activities also require
attentive and knowledgeable readers of the moving image. any moving image text need not necessarily be taken at ICT software that can handle moving image material; there
face value. They should think about where a film or TV is more detail on this in Chapter 4 – Making moving
The techniques are not age-specific. You could use any of programme comes from and whose interests it may be images with digital media. Overall advice on how to
them with any age-group depending on the topic in hand, serving, if they are to use its information critically and manage moving image work can be found in Chapter 5 –
the moving image text you want to base them on, and how constructively. Top and Tail in particular is a technique Managing teaching and learning about the moving image.
far you want to follow through each activity. But you may you could use quite quickly and informally whenever you
feel that Techniques 7 and 8 are inherently more use a video, to establish the habit of checking out a text’s
sophisticated and thus more appropriate for Key Stage 4. sources.
In each of the nine ‘subject grids’ which follow on pages
13-33, you will find some of these techniques explained Techniques 6, 7 and 8, Generic Translations, Cross-
and illustrated in subject-specific terms which should bring media Comparisons and Simulation, offer you more
them to life for you as a subject teacher. substantial classroom activities to explore ways of making
changes to moving image texts and relating them to other
Above:
The first three techniques concentrate on the language of media. In subject-specific contexts these can thus form the
Not part of the curriculum: David Bradley in
the moving image. They offer you ways of encouraging basis of coursework pieces at Key Stage 4, or could be Ken Loach’s first feature film, Kes (1969).
pupils to see how everything in a moving image text is used to set up class projects to explore an issue or topic. Courtesy: bfi Stills
7
8
BASIC TEACHING TECHNIQUE KEY QUESTIONS LEARNING OBJECTIVES

! Pupils should learn that:
Freeze Frame
! Use the video pause button to help the class discuss ! Every element of a visual image can carry
each shot of a short moving image text or extract meaning.
(eg 60 seconds long) by looking at and discussing: ! Visual images can be ‘read’ like other texts
! What they can see in the ‘frozen’ image; how ! Why is the shot composed like this? What ! The position of elements within the image, the
the elements of the image are positioned in the difference would it make if it were composed colours used, and the lighting, can all affect
frame; how lighting and colour affect what is seen. differently? interpretation.
! Distance between camera and subjects; camera ! Why is the camera positioned in this way? What ! Camera distance (eg close-up, long shot etc),
angle; movement of the camera during a shot. difference would it make if it were somewhere camera angle and camera movement all affect
! How many shots there are and how the else? meaning.
sequence of shots builds up information and
ideas or impressions.
Possible follow-up:
! Use a storyboard or moving image software to ! What difference does it make if the order of shots ! The number and order of shots affect meaning.
change the order of the sequence or eliminate is different or some are missing?
some shots.
" Sound and Image

! Cover the video screen and ask pupils to listen About music: ! Moving image sound tracks can have four
carefully to the sound track of a short moving ! What kind of music is this? What feelings/ images elements: music, sound effects, voice and
image sequence and describe exactly what they does it suggest to you? silence. All of these contribute to meaning.
hear in this sequence. ! Sound effects are of two types: ‘atmosphere’
About sound effects:
! Pupils should identify the type of text they ! What exactly can you hear and what might it
(ie continuous sound) and ‘spot effects’
think it is and identify and describe all the sounds (ie short sounds).
represent?
they can hear. ! Sound – particularly music – can set the ‘mood’
! They should then guess at the content and About words: of a text and establish its generic identity
style of the images in the sequence. ! What is said and what can you tell about the (eg comedy, thriller).
! Finally show the complete sequence and invite speaker(s) from their voice(s)? ! Sound can often do more to ‘pin down’ the
discussion about how sounds and images affect meaning of a sequence than visual images can.
About silence:
each other. ! Sound can affect not only the way viewers
! Why do you think the sequence is silent at this
interpret the images but also what they actually
Possible follow-up point? What might be going on?
think they can see.
! Try out any or all of: different music, different sound About the final viewing: ! Off-screen sounds can help to create the
effects, a different voice reading the same words, or ! What difference does the sound make to the impression of three-dimensional space.
different words; or eliminate any of these elements. sequence? What difference would it make if some ! Silence can also have a powerful effect on the
Discuss how this affects the ways the images can elements were missing? interpretation of a sequence.
be interpreted.
# Pupils should learn that:
Spot the Shots
! After their first viewing of a short moving image ! How long is this sequence? How much ‘story time’ ! The number, sequence and duration of shots in
sequence, pupils guess at the number of shots does it represent? a moving image sequence all contribute to its
used. ! What new information or impression is each new meaning and are created in the editing process.
! On second viewing, they mark each change in shot giving us? ! Screen time and ‘story time’ are usually
shot, scene location and sound (use pause button ! What information or impression does each change different: the editing process ‘manages’ the story
if necessary). in sound give us? time for us.
! On third viewing they look carefully at how the ! Why is this kind of shot transition used? What ! Each new shot should provide new information
shot transitions are created (eg cuts, mixes, fades, difference would it make if another type of or impressions: shot changes are not merely ‘to
wipes etc) and whether the sound transitions transition were used? keep viewer interest’.
happen at the same places. ! Why are the shots of this length? Does the overall ! The pace and rhythm of editing and the types of
! They should also time each shot. time-scheme of the shots build up a rhythm or a transition used also contribute to meaning.
pattern? What is the effect of this? ! Sound transitions may not match shot
Possible follow-up:
transitions: in drama especially they may
! Create a script or storyboard to support their
anticipate them and this can function to
analysis of the sequence. Variations on the
maintain or develop moods such as suspense.
sequence can then be hypothesised: eg
! Certain kinds of shot sequence are highly
eliminating shots or changing the order of the
conventional: eg shot/ reverse shot in a
sequence.
conversation or interview; or a character looking
! If the software is available, pupils could digitise
off-screen is likely to be followed by a shot of
and re-edit the shots to try out different
what they are looking at.
sequencing and timings.
9
10
BASIC TEACHING TECHNIQUE KEY QUESTIONS LEARNING OBJECTIVES

$ Pupils should learn that:
Top and Tail
! Show the title sequence of any moving image text ! Is this a cinema film or a TV … AND ! Title sequences identify the text and ‘sell’ it to
and use any of Basic Techniques 1 to 3 to help programme? audiences; they may be very explicit about the
pupils identify its genre and intended audience, ! Is it fact or fiction? HOW text’s genre, content, audience and purpose or
and to predict its content and ‘message’. ! Who is it for? they may disguise this to provoke curiosity.
! What is it about? CAN ! Information about who made a text, who
financed it, and who owns it, can alert you to
! Show the production credits at the beginning ! Who made it? YOU the interests it represents – and those it may
and/ or end of a moving image text and discuss ! Who owns it? not represent, or may misrepresent.
the information they provide about the source and ! Why might it have been made? TELL? ! Many roles may contribute to the production of
ownership of the text, how it was produced, and ! What roles were involved in a moving image text and can affect its content,
how it was distributed to audiences. making it? style and meaning.
! A moving image text is likely to be produced by
one company and distributed by another.
% Attracting Audiences
! In pairs or groups, pupils collect information about ! What methods were used to promote this text to ! Most moving image texts compete for
how a text has been marketed and circulated to audiences? audiences in a busy commercial market.
audiences: eg TV listings, educational resource ! Why were these methods used and not others? ! Moving image texts can be promoted in many
catalogues, video catalogues, shop displays, ! Who helped promote this text and why? different media.
websites, film posters, advertisements, trailers, TV ! Did audiences respond as the producers ! Marketing and promotional strategies are
ratings, cinema box office information, reviews, intended? If not, why not? central to most of the moving image industries.
press releases, news items. ! Was media controversy deliberately fostered? Did ! Most media producers and distributors are part
! Groups or pairs present their findings (eg as it help or harm the text? How? of larger conglomerates and can call upon a
live presentations, poster montages etc) to the range of different companies to help promote
rest of the class, identifying key issues affecting their products.
the success or failure of a text to find its audience ! Audience responses are measured and fed
and convey its message. back into future production and promotion
strategies.
! Most moving image production and distribution
is expensive and risky.
& Pupils should learn that:
Generic Translation
! Pupils ‘translate’ a moving image text – eg ! What can you tell in print that you cannot tell or ! Meaning can change when information is
documentary, TV news item, TV or film commercial, show in moving images? presented in different forms or transposed to
scene from a feature film – into a print genre such ! What can you tell or show in moving images that another medium.
as a newspaper item, a magazine feature, an you cannot tell in print? ! Each medium has its own language,
extract from a novel, a short story or a poem. ! Which medium do you think is best for the conventions and genres.
! Pupils translate a print text into moving image form story/ information/ ideas you are conveying? ! Moving image is more appropriate for some
– first as script or storyboard, and then if possible ! Is a real ‘translation’ ever possible from one kinds of content or structure, and print is more
as video (a brief extract or ‘try-out’ of one scene). medium to another? appropriate for others.
' Cross-media Comparisons

Pupils can use Basic Techniques 1-6 to: ! What elements stay the same and what changes ! Groups, issues, values or ideas will be
! Compare the treatment of an issue in two (and how?) for the different audiences? represented in different ways according to the
different media and/ or for two different ! How do print and moving image respectively form, genre and intended audience.
audiences. manage ‘literary’ features such as time, character, ! Print texts are open to a range of moving
! Compare a key moment from a fictional print text setting, motivation etc? image adaptations.
in two different moving image adaptations. ! What is gained and what is lost in each form? ! Both documentary and drama can present a
! Compare treatments of the same theme in factual theme effectively; the boundary between fact
and fictional forms. and fiction can be hard to draw.
( Simulation
! Pairs or groups of pupils are placed in role as ! Why have you chosen this age-group/ audience? ! Most moving image texts are produced within
producers of an existing moving image text used ! What in the existing text will not appeal to or be editorial and institutional constraints: time,
in any subject curriculum and asked to produce understood by its new audience? budget, context, purpose etc.
plans for how they would ! What aspects of the text can you use to sell it to ! Content and form will vary according to
! modify or reconstruct it for a different age- its new audience? audience and purpose.
group; ! What methods would be most appropriate to ! Addressing a different audience can add ethical
! ‘sell’ the text to a different audience; reach that audience? or legal factors which will affect what can and
! challenge it critically from a particular point of ! From what point of view are you arguing against cannot be said or shown.
view; the text or for a different version? ! A critical challenge to an existing text must
! produce an alternative text. ! What evidence are you using to back up your have good evidence to back it up which can
argument? come from both within the text itself and from
The plans should be presented to the teacher or
! Who is the audience for the new version? other sources.
another group acting as Commissioning Editor or
! Alternatives are possible.
Executive Producer.
11
Short Film in Language Teaching
EXCERPTS FROM:
MOVING IMAGES IN THE CLASSROOM

A SECONDARY TEACHERS’ GUIDE TO USING FILM & TELEVISION

Moving Images in the Classroom
A S E C O N D A R Y T E A C H E R S ’ G U I D E T O U S I N G F I L M & T E L E V I S I O N
F I L M
EDU C AT IO N
26
Excerpts from Moving Images in the Classroom written by the British Film Institute, 2000.
Working with moving images in MODERN FOREIGN LANGUAGES

LEARNING OBJECTIVES ACTIVITIES OUTCOMES
Pupils should learn: Pupils should have opportunities to: Pupils could produce:
! That some genres are common to UK culture and ! Make comparisons between the different genres A review guide of films they have seen from the
that of the country whose language they are they encounter within the target language angle of a language learner or a viewing guide
studying, and some are not. environment and those they already know in the with their ideal week’s TV programmes from the
! That cultural conventions and audience UK. target country.
expectations can be different in other countries. ! See short clips from a range of films and television
! That TV scheduling and film classification may programmes from the country whose language
operate differently in another country. they are studying.
! See examples of that country’s film and TV listing
guides.
About the authentic background to the languages See subtitled cinema screenings of appropriate short Promotional material or a poster about the film,
they are studying. or feature films from the country whose language in the target language.
they are studying, eg La Fracture du Myocarde
(Jacques Fansten 1990), Les Vacances de M Hulot
(Jacques Tati, 1952), Le Ballon d’Or (Cheik Doukoré
1993) Die Unendliche Geschichte (Wolfgang Petersen
1984), Lola Rennt (Tom Tykwer 1998).
! About contemporary events in the country whose ! See English-language news, documentary and ! Their own news or documentary video or
language they are studying. sport programmes to understand the issues which multimedia presentation about life in the
! That films and TV programmes about the target are concerning the local people. target country.
culture from the UK and elsewhere may present ! Compare the treatment of international issues ! Listings of ‘How do you know you are in …?’
misleading information. with material produced in the UK, such as the based on visual images only.
discussion about the Euro.
That visual and paralinguistic factors are an important Use clues from performance, generic markers, visual Use video or ICT to provide a re-voiced commentary
part of accurate understanding. style, music and sound effects to help interpret verbal to a news item or advert in the target language.
language in simple short moving image texts in the
language they are studying.
Using the basic teaching techniques in MODERN FOREIGN LANGUAGES
BASIC TECHNIQUE POSSIBLE TEACHING ACTIVITIES LEARNING OBJECTIVES
Freeze Frame ! Use the pause button to focus pupils’ attention on each shot ! Develop pupils’ listening skills and the ability to relate their
of a clip, advertisement or short film: pupils use visual clues existing moving image knowledge to the interpretation of
from each ‘freeze frame’ to establish genre, distinguish the whole text.
characters’ roles and recount – or perhaps predict – narrative ! Develop pupils’ skills in close analysis of a moving image
development, using the correct tense. text and the ability to compare texts across cultures.
! Pupils can be provided with a list of phrases, some of which ! Develop pupils’ awareness of how language and visual
appear in the clip and some do not. Pupils play word bingo images combine to produce meaning in a moving image
and tick those they hear. text.
! Use the colour control to convert ‘frozen’ frames from colour ! Develop pupils’ use of different verb tenses by enhancing
to black and white, and ask pupils to recall and name the awareness of past, present and future in a text.
colours of selected objects within the frame.
Spot the Shots Pupils watch a short clip twice through and are then given a shot Development of close observation skills and ability to
list describing settings, actions and dialogue, some of which follow structure of clip using visual and aural as well as
appear in the clip and some of which do not. They must identify language clues.
the ones that appear in the clip and number them in order.
Sound and Image ! Show the clip with sound only. Pupils guess the visual Pupils integrate their moving image knowledge with their
content: how many people, what they look like, where the language skills, using contextual sound to help them place and
action is taking place etc. understand the language; or using visual and stylistic clues to
! Show a clip with vision only. Working as a class or in small reconstruct dialogue.
groups, using a prepared framework, pupils reconstruct the
dialogue or commentary, orally or in writing.
Top [and Tail] Show the title sequence and opening credits of a film or television ! Develops close listening skills linked to careful analysis of
programme in the target language. Pupils have to identify its genre moving image conventions and techniques.
and intended audience, and predict its content or ‘message’, using ! Acquisition of specialist vocabulary in the target language
moving image analysis skills as well as listening skills. This can be relating to moving images.
presented as a multiple choice activity if pupils are unfamiliar with the
necessary terminology: pupils can be asked to justify their choices.
Attracting Audiences Pupils study promotional material for the release of a film they know ! Broader understanding of the culture of the country whose
in the country of the target language: posters, press listings, reviews, language they are studying and an awareness of differences
trailers. They identify differences and similarities between this in audience expectations.
material and the film’s UK release, and explore the reasons for these. ! Further acquisition of specialist vocabulary.
27
28
Working with moving images in ART AND DESIGN

LEARNING OBJECTIVES ACTIVITIES OUTCOMES
Pupils should learn: Pupils should have opportunities to: Pupils could produce:
! Artists respond to the meanings of others’ work. ! Have fun with paintings, prints and sculptures by ! A short animation that brings objects, shapes
! Artists sometimes use past work to inspire them making them move, using optical toys or ICT or people in a work of art to life. Ideas could
to make new products, such as title sequences for animation software. be developed and later used to design a title
arts programmes or advertisements for TV/ cinema ! Look at examples of artists’ work in moving image sequence for an Arts review programme.
release. media, such as movies by Andy Warhol or the ! A digital still life using different point of view
! Rhythm, pattern, light and repetition, and the Salvador Dali sequence in Hitchcock’s Spellbound shots and unusual camera positions.
development of themes are important in the (1945).
structure of moving image materials. ! Make contemporary interpretations of traditional
subject matter, for example a still life, created as a
large sculpture, photographed, scanned in and
altered.
! Films are sources for research into the lives and Investigate the meanings of artists’ work by Hypertext links in a multimedia presentation to
works of artists. Some contain documentary researching influences and by locating historical show a range of influences on and different
evidence; others use actors. In either case a story determinants. Technological aspects such as changing interpretations of an artist’s work.
of the artist is reconstructed. paint technology or the possible connections between
painters and film-makers may provide pupils with a
focus for their study.
! Some moving image texts are made for non- ! See abstract films such as Colour Box or Trade An abstract film by piecing short lengths of
commercial reasons and may be ‘experimental’. Tattoo by Len Lye (GPO Animation). patterns or shapes into a sequence: 8mm or
! Audiences discover abstract moving image texts ! Analyse moving image sequences in terms of 16mm celluloid film could be edited together by
through word of mouth, galleries and museum technical decisions made and their effects on members of a class and later projected onto a
visits, TV, or from the Internet (as also happens audiences. Consider why they were made and screen.
with some forms of music). who they were made for (audience).
Taps - Audio Description
00.00.00 - 00.02.07
Squeaking noise as something turns
Slower squeaking noise
Dripping noises
Water gushing noise
Occasional 'sucking up a straw noise'
00.02.07
Sound of footsteps
00.02.26
Suction and then popping noise
00.02.44
Sound of rain storm and squeaking as something turns

Activity sheet Short Film in Language Teaching
‘Tell Me’ Grid on sound
MUSIC SILENCE
SOUND
DIALOGUE EFFECTS
BFI after Aidan Chambers, CLPE Tell Me (1991)

Taps - Audio Description
00.00.00 - 00.02.07
Squeaking noise as something turns
Slower squeaking noise
Dripping noises
Water gushing noise
Occasional 'sucking up a straw noise'
00.02.07
Sound of footsteps
00.02.26
Suction and then popping noise
00.02.44
Sound of rain storm and squeaking as something turns

MUSIC SILENCE
SOUND
DIALOGUE EFFECTS

Les Crayons - Audio Description
00.00.00 - 00.01.16
Lyrical, classical, romantic and filmic music plays

Film, Music and Mood – French
Écoute encore la musique du film.

La musique crée quelle ambiance?
Une ambiance de peur:
Une ambiance de danger: Une ambiance de bonheur:
Une ambiance de tristesse: Une ambiance d’aventure:
Une ambiance d’amour: Une ambiance d’humour:

‫‪Activity sheet‬‬ ‫‪Short Film in Language Teaching‬‬
‫‪Genre Cards – Arabic‬‬
‫وﺗﺸﻤﻞ ھﺬه اﻷﻓﻼم روﺗﯿﻦ رﻗﺺ اﻟﺘﻲ ﺗﻌﺘﺒﺮ اﻟﻤﻜﻮن‬

‫اﻟﺮﺋﯿﺴﻲ ﻟﻠﻘﺼﺔ‬
‫ﻣﻮﺳﯿﻘﻲ‬
‫ﺗﻢ ﺗﺼﻤﯿﻢ ھﺬه اﻷﻓﻼم ﻟﺘﺨﻮﻳﻒ وإﺛﺎرة اﻟﺠﻤﮫﻮر‪ .‬ﻗﺪ ﻳﻈﮫﺮ‬

‫ﻓﻲ اﻟﻔﯿﻠﻢ وﺣﻮش‪ ،‬وأﺷﺒﺎح أو اﻟﺴﺤﺮة‪ ،‬وﻳﮫﺪف إﻟﻰ إﺑﻘﺎء‬ ‫اﻟﺮﻋﺐ‬
‫اﻟﺠﻤﺎھﯿﺮ ﻋﻠﻰ ﺣﺎﻓﺔ ﻣﻘﻌﺪھﻢ‬
‫وﻋﺎدة ﻣﺎ ﺗﻜﻮن ھﺬه اﻷﻓﻼم ﻓﻲ اﻟﻔﻀﺎء أو اﻟﻤﺴﺘﻘﺒﻞ‪.‬‬

‫وﻳﻤﻜﻦ أن ﺗﺸﻤﻞ ﺷﺨﺼﯿﺎت ﻣﺜﻞ ﻛﺎﺋﻨﺎت اﻟﻔﻀﺎء أو اﻟﻌﻠﻤﺎء‪،‬‬ ‫اﻟﺨﯿﺎل‬
‫وھﻲ ﻣﺼﻤﻤﺔ ﻟﺘﺪھﺶ اﻟﺸﺨﺼﯿﺎت ﻣﻊ ﻋﻮاﻟﻢ أﺧﺮى وﻣﺎ‬ ‫اﻟﻌﻠﻤﻲ‬
‫ﻳﻤﻜﻦ أن ﻳﻜﻮن ﻣﻤﻜﻨﺎ ﻓﻲ اﻟﻤﺴﺘﻘﺒﻞ‬
‫وﻋﺎدة ﻣﺎ ﺗﻜﻮن ھﺬه اﻷﻓﻼم ﻓﻲ “اﻟﻐﺮب اﻷﻣﺮﻳﻜﻲ اﻟﻤﺘﻮﺣﺶ”‬ ‫أﻓﻼم‬

‫وﺗﺘﻤﯿﺰ ﺑﮫﺎ رﻋﺎة اﻟﺒﻘﺮ واﻟﺼﺎﻟﻮﻧﺎت واﻟﺨﯿﻮل واﻷﺑﻄﺎل‬ ‫اﻟﻐَﺮب‬
‫ھﺬه اﻷﻓﻼم ﺗﻜﻮن ذو طﺎﻗﻪ ﻋﺎﻟﯿﻪ وﻳﻤﻜﻦ أن ﺗﺸﻤﻞ‬ ‫ﻓﯿﻠﻢ‬

‫ﻣﺸﺎھﺪ اﻟﻘﺘﺎل‪ ،‬وﻣﻄﺎردة اﻟﺴﯿﺎرات واﻻﻧﻔﺠﺎرات‪ .‬وﻗﺪ ﺗﻜﻮن‬
‫اﻟﺸﺨﺼﯿﺎت أﺑﻄﺎل ﻋﺎدﻳﯿﻦ ‪ ،‬أواﻷﺷﺮار أو اﻷﺑﻄﺎل اﻟﺨﺎرﻗﯿﻦ‬
‫اﻛﺸﻦ‬
‫ھﺬه اﻷﻓﻼم ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﻜﻮن ﻗﺼﺔ ﺗﻨﻄﻮي ﻋﻠﻰ رﺣﻠﺔ أو‬

‫ﺗﺤﻘﯿﻖ‪ ،‬وﻳﻤﻜﻦ أن ﺗﺸﻤﻞ ﻣﻮﺿﻮع اﻟﺴﻔﺮ ﻋﺒﺮ اﻟﺰﻣﻦ‪ ،‬أو‬ ‫اﻟﻤﻐﺎﻣﺮه‬
‫اﻟﺒﺤﺚ ﻋﻦ ﻛﻨﺰ أو اﻟﻤﺎﺿﻲ‬
‫ﺗﻢ ﺗﺼﻤﯿﻢ ھﺬه اﻷﻓﻼم ﻟﺠﻌﻞ اﻟﻨﺎس ﻳﻀﺤﻜﻮن‪ .‬اﻟﻘﺼﺔ ﻋﺎدة‬

‫ﻣﺎ ﺗﻜﻮن ﻏﯿﺮ ﺟﺪي‪ ،‬واﻟﺘﺮﻛﯿﺰ ﻋﻠﻰ اﻟﻤﻤﺜﻠﯿﻦ وﻗﺪراﺗﮫﻢ ﻋﻠﻰ‬ ‫ﻛﻮﻣﯿﺪﻳﺎ‬
‫ﺗﺴﻠﯿﺔ اﻟﺠﻤﮫﻮر‬
‫ھﺬه اﻷﻓﻼم ھﻲ ﻗﺼﺺ ﺣﺐ روﻣﺎﻧﺴﯿﺔ وﻋﺎدة ﻣﺎ ﺗﻨﻄﻮي‬

‫ﻋﻠﻰ رﺣﻠﺔ اﻟﺸﺨﺼﯿﺎت اﻟﺮﺋﯿﺴﯿﺔ و ﻗﺼﺔ ﺗﻌﺎرﻓﮫﻢ‪ ،‬اﻟﺘﻮدد‬
‫روﻣﺎﻧﺴﻲ‬
‫أو اﻟﺰواج‪ .‬اﻷﻓﻼم اﻟﺮوﻣﺎﻧﺴﯿﺔ ﺗﺠﻌﻞ ﻗﺼﺔ ﺣﺐ روﻣﺎﻧﺴﯿﺔ أو‬
‫اﻟﺒﺤﺚ ﻋﻦ اﻟﺤﺐ واﻟﺮوﻣﺎﻧﺴﯿﺔ اﻟﺘﺮﻛﯿﺰ اﻟﺮﺋﯿﺴﻲ ﻟﻘﺼﺔ اﻟﻔﯿﻠﻢ‬
‫‪bfi.org.uk | © British Film Institute 2018‬‬ ‫‪intofilm.org | © Into Film 2018‬‬

Genre Cards
FOLD
MUSICAL
These films include dance routines which are the highlight
of the story.
HORROR
These films are designed to frighten and thrill. The film
may feature monsters, ghosts or witches, and is intended
to keep the audience on the edge of its seat.
SCIENCE These films are usually set in space or the future. They may
FICTION include characters like aliens or scientists, and are designed
to amaze characters with other worlds and what might be
possible in the future.
WESTERN
These films are usually set in the ‘Wild West’ and feature
cowboys, saloons, horses and heroes.
ACTION
These films are high-energy and can include fight scenes,
car chases and explosions. The characters may be
everyday heroes, bad guys or superheroes.
ADVENTURE
These films often have a story that involves a journey or a
quest, and may include the theme of time travel, treasure
hunting or the past.
COMEDY
These films are designed to make people laugh. The story
is usually light-hearted and the focus is on actors and their
ability to amuse audiences.
ROMANCE These films are romantic love stories and normally involve
the main character’s journey through dating, courtship or
marriage. Romance films make the romantic love story or
the search for love and romance the main plot focus.

00.00.00 - 00.01.16

Single Shot Storyboard
SKETCH
DIALOGUE SOUND
CHARACTERS

MUSIC SILENCE
SOUND
DIALOGUE EFFECTS

Single Shot Storyboard
DIE SKIZZE
DER DIALOG DER TON
DIE PROTAGONISTEN
/DIE CHARAKTERE

Storyboard Example
SOUND: Outside noises SOUND: Footsteps, whistling
CAMERA: Establishing shot CAMERA: Footsteps, whistling
PROPS: None PROPS: None
CHARACTERS: Derek CHARACTERS: Derek
SOUND: Whirring sound of laser beam SOUND: Loud scream
CAMERA: Tilt shot CAMERA: Close up shot
PROPS: None PROPS: None
CHARACTERS: Derek CHARACTERS: Derek

Storyboard Template
SOUND: SOUND:
CAMERA: CAMERA:
PROPS: PROPS:
CHARACTERS: CHARACTERS:
SOUND: SOUND:
CAMERA: CAMERA:
PROPS: PROPS:
CHARACTERS: CHARACTERS:

00.00.00 - 00.01.16

Puzzles, Prizes and Predictions ‘Tell Me’ Grid
SURPRISE PUZZLES
PREDICTIONS SIMILARITIES
BFI after Aidan Chambers, CLPE

La Queue de la souris - Audio Description
00.00.00
Sounds of the forest
00.00.30
Low sound of a lions roar
00.00.35
Louder lions roar and a screech
00.01.07
Classical intense string instrument music
00.01.27
Lions roar
00.01.37
Lions roar and then classical string instrument music starts again
00.01.44
The noise of a frog croaking as music continues
00.01.58
Lions roar as music continues and builds up
00.02.24
Music stops and there is the sound of a snake hissing suddenly
00.02.31
Music continues more slowly
00.03.19
Restricted lions roar, plucking instrument sounds and then the sounds of birds flying off tweeting
and a frog croaking. Music continues
Puzzles, Prizes and Predictions ‘Tell Me’ Grid
SURPRISE PUZZLES
PREDICTIONS SIMILARITIES
BFI after Aidan Chambers, CLPE

Taps Voice-over Transcript - Welsh to English
(00.12)
Hello I Like you
I do also
(00.17)
But what about him?
(00.19)
I know that we love each other but what about him?
He’s going to be sad without any friends
(00.27)
What are we going to do?
(not sure of this line)
(00.36)
Eeeewwww! You love each other
That’s disgusting
(00.39)
So, Now I know why he doesn’t have friends – he’s being really mean
(00.46)
But it’s really mean to say eeewww
(00.52)
Well that is disgusting
APPS TO SUPPORT DoubleSub Free

USING SHORT FILM IN
LANGUAGE TEACHING Autocue App £8.99
General Filmmaking and Film Analysis Apps

TABLETS
TO SUPPORT NAME
Colour Comic Life Mood Board Free Free
Character Trading Cards Free Free
Camera Camera App Built In Built In
Book Creator £4.99 £1.50
Story Rory’s Story Cubes £1.49 £1.49
Book Creator £4.99 £1.50
Storyboarding Popplet Free (Lite), £4.99 N/A
Setting Sketchbook Express Free Free
Sounds Garage Band Free N/A
Music Maker Jam Free Free
Editing iMovie £4.99 N/A
Pinnacle Studio £2.99/£12.99 (Pro) N/A
Power Director Video N/A Free
Filmic Plus/Pro £9.99 (Pro) £4.99/£8.99
Stop Motion Stop Motion Studio Free Free
iStopMotion £11.99 N/A
Animate It! Free (Lite), £2.99 £1.99
Clayframes N/A £1.99
icananimate Free (Lite), £2.99 N/A
PicPac Stop Motion & Time Lapse N/A Free
FlipaClip (Cartoon animation) N/A Free
iMotion Free N/A
Back Up Files One Drive Free Free
Google Drive Free Free
File Sharing Rambax Simple Transfer Free/£2.99 N/A
We Download Free Free
*prices correct at time of publishing’

Guide
DESKTOPS & LAPTOPS Short Film in Language Teaching
TO SUPPORT NAME
Editing, Graphics
Adobe Creative Cloud Prices vary (£17pm) Prices vary (£17pm)
& VFX
Editing Final Cut Pro X £299.00 N/A
iMovie Free (with new Mac) N/A
Shotcut (similar to Movie Maker) N/A Free

EXTRAS
Royalty-Free Incompetech www.incompetech.com

Music
Audiomicro www.audiomicro.com
High quality free music http://bit.ly/2l2YzPI

resources and Foley sounds
by Alan McKinney
Into Film Guide to Windows Movie www.intofilm.org/resources/84

Mini guides Maker
Guide to iMovie www.intofilm.org/resources/85
Guide to Garageband www.intofilm.org/resources/83
Introduction to Stop www.intofilm.org/resources/200

Motion Animation
Additional Animate It! www.animate-it.com
stop motion – Tutorial www.animate-it.com/get-animating/how-to-use-
tutorials animate-it
Stop Motion Studio – Manual http://bit.ly/2maOAgm
Clayframes (stop motion) http://bit.ly/2lc5rLu

– Tutorial
Stop-Motion – Info www.sheado.net/stopmotion
PicPac Stop Motion http://blog.picpac.tv/tips

and Time Lapse – Tutorial
FlipaClip – Tutorial http://bit.ly/2moAi7U
Other National Film Board www.nfb.ca/interactive

of Canada (NFB) Mainly mac based apps but some online info/games
and a really great resource with active blog.
McLaren’s Workshop http://apple.co/2lJ9Xoc
NFB StopMo Studio www.nfb.ca/stopmo
Misc Pencil www.pencil2d.org
Stykz www.stykz.net
Blender www.blender.org
*prices correct at time of publishing’

‘A Few Technical Ideas…’ Caroline Thomas

pg 1/2
Robert Clack School – Barking and Dagenham
PREZI
• Prezi is a good alternative to PowerPoint.
• Prezi’s zooming canvas opens up the classroom to active learning and
interactivity, making lessons understandable, memorable, and fun.
• Prezi makes it much easier to insert videos directly from the Internet.
• You can sign up free with a school email address:
https://prezi.com/signup/edu/enjoy
IMPORTING SOUND AND VIDEO FROM YOUTUBE/VIMEO

• You might want to import the sound only from a video to play over your
presentation.
• You might need the video file so that you can create clips or adjust the length
of the film.
• You might want to work with the film in Movie Maker or iMovie. Copy and
paste the link to the video (from YouTube, Vimeo or another video host) into
http://www.clipconverter.cc
• You can then select the format you need – .MP3 for sound or
• .MP4/.MOV for video.
• Note: You must uncheck the box below the Download button.
You could even use a QR reader for a direct link to the video!

‘A Few Technical Ideas…’ pg 2/2
TAKING SCREENSHOTS TO GET STILLS FROM THE MOVIE
Note: The image will be saved

to your clipboard, and you will
have to paste the image before
taking another.
CUTTING YOUR MOVIE INTO SHORTER CLIPS

• You can visit http://online-video-cutter.com
• You can import your film and then use the really simple online tool to cut it
into smaller clips.
• This is great for sequencing activities.
• It’s an ideal alternative to Movie Maker or iMovie – it’s so easy to use.
CREATE A TRAILER
• http://www.magisto.com
• Use Magisto to create a little mini-trailer time version of your film.
• This is good for getting learners to predict what the film is about.

Downloading and Editing Media pg 1/3
Once you have the link to the film (YouTube or Vimeo should both
work fine), go to www.clipconverter.cc. This is a website that allows
you to download videos from various media hosts. You will be greeted
with a box that looks like the following:
Paste the URL of the video from your browser into the top box and
press ‘Continue’. You will then be offered a selection of videos available
on the page – this will primarily (and 90% of the time only) be various
different resolutions of your video. It should look like the following.
From this screen, select the video with the highest definition (which tends
to be at the top of the list – you can look at the file size to confirm; the
larger the file size the better the quality). Under the ‘Conversion Format’
section you have some options. If you want to just download the complete
video, leave ‘Download’ highlighted white.
You do have the option here however to separate the audio from the video.
In the image above, if you click ‘mp3’ or ‘AAC’, it will allow you to download
only the audio. This could be useful for having listening exercises and in
breaking down the film during lessons.

Once you have selected which format and resolution you would like to
download, press ‘start’ and the page will change to a converting page.
You will see the above images, and then it should take you to a new
page with the actual download link.
Occasionally, there will be a check box underneath the ‘download’

button – make sure this is NOT checked – and then click ‘download’
and your file will be saved to your computer. That’s it done!

EDITING SOFTWARE
There are countless guides online about using iMovie and Windows
Movie Maker – to add my own guide below would be purely duplicating
information online, and also different versions have different instructions,
so instead I have included below some links to good guides.
Windows Movie Maker
To download Movie Maker:

http://windows.microsoft.com/en-gb/windows/get-movie-maker-download
Windows actually has its own guide for using Movie Maker, depending on the version you are using.
Windows Live (Windows 7 & 8)

http://windows.microsoft.com/en-gb/windows-live/movie-maker
Windows Vista
http://windows.microsoft.com/en-gb/windows-vista/make-a-movie-in-four-simple-steps
Windows XP
http://www.visualsteps.com/photovista/Chapter8_MovieMaker26.pdf
iMovie
Your Mac should have come with iMovie pre installed. To check the version, open it and click
the ‘iMovie’ or ‘iMovie HD’ in your status bar – click ‘About iMovie’ and it will tell you the
version number.
iMovie 6
http://manuals.info.apple.com/MANUALS/0/MA136/en_US/iMovie_HD_6_Getting_ Started.pdf
iMovie HD
http://manuals.info.apple.com/MANUALS/0/MA99/en_US/iMovieHD_Getting_Start ed.pdf
iMovie 11
https://www.apple.com/uk/support/mac-apps/imovie/

Guide to Editing with iMovie pg 1/3
You spent lots of time planning your film and now you have completed filming.
The next step before you share your film with the world is to assemble your clips
together into a coherent structure. This process is called editing.
There are a number of software packages that you can use for editing to match
your budget and requirements. However, iMovie remains one of the most
accessible editing packages especially for young filmmakers.
This guide has been designed to provide a basic overview of the process of
editing in iMovie and will enable you to create your own short film with the
footage you have shot. For more detailed support with using iMovie, check out
the iMovie Help page on the Apple website at www.bit.ly/1AfyLQT
Preparing for the edit
It is very tempting to start editing straight away. However, it is advisable to review the footage
that you want to edit first and ensure that you have named the clips. This will make it easier for
you to find the clips when you are importing them into iMovie later. Use a description of the
clip or number them in sequence order.
Getting started
Launch iMovie on your computer.
Before you import your video clips, you first need to create a new event. An event is a folder
where you will store all of your film footage as well as any audio clips or photos for a film.
To create a new event:
• Select File and New Event

• Name the event. For example, history project
Importing video clips
The next step is to import the clips from your film so that you can start to assemble the
footage together.
The footage might be on a disc or tape, you might have been sent the clips via email or
it might be stored in your Dropbox account. The easiest thing to do is to save all of the
footage to your computer and import it from here.
To import video clips:
• Highlight the event that you have created for the film and select Import
• Locate the video clips on your computer. If you have already organised and named
these, they will be easy to find
• Once all of the clips have been found, highlight them and select Import Selected
You are now ready to start assembling the clips into order to make your film.

Creating a new iMovie project
• Select File and New Movie

• You will be asked to select a theme. A theme is a group of related transitions and titles
that have a unique visual style. There are lots to choose from but for this basic guide,
select No Theme.
• Name your film and make sure that it will be saved in the correct Event and select Okay
The iMovie page is now split into three sections:
• Top left (Event Browser) - this is where all of your imported clips sit ready for you to edit
• Top right (Project Browser) - this is the media player where you can playback clips or
your edit in progress
• Bottom (Timeline) - this is where you assemble clips and add audio, photos, transitions
and titles
Adding clips to your project
It is now time to assemble your film clips in the order of the story you have filmed. Start with
your first shot and work through the clips in the order that they will appear.
• Click on any clip in the Event Browser. A yellow box will appear on the thumbnail of the
clip
• Adjust the edges of the box so that all of the footage you want to add to your project is
within the yellow box
• The Project Browser lets you view what will be included in the clip you have selected.
Press Spacebar to play or pause the playback of the footage
• Grab the selected footage and drag it to the Timeline
• Continue this until all of the clips have been added to the timeline, one after the other in
sequence
• If you want to change the order of the clips, click on the clip so that the yellow box
appears, and then drag and drop in the preferred place
• In the event that you make a mistake, do not worry, the original footage will remain in
the Event folder
Adjusting clips
If you would like to make some further changes to the clips you have
selected, including trimming and cropping, there are a number of tools
to help you. Here are just two:
Clip trimmer
This feature allows you to change the duration of a clip by moving the
clip’s start point or end point.
• Select the clip that you want to trim in the Timeline

• Select Window and Show Clip Trimmer
• The Clip Trimmer will appear above the Timeline
• The edges of the clip are highlighted white
• You can now drag the edges of the clip to a new start and end point
• Hit Enter when you are happy with the new clip

Split a clip
This feature allows you to split an existing clip into different parts, so that you can be more specific
about where the clips will appear in the Timeline.
• Select the clip that you want to split in the Timeline

• Position the Playhead (the white vertical line that marks the current position in the Timeline)
where you want to split the clip
• Select Modify and Split Clip
• The clip is now split into two separate clips
• In the event that you make a mistake, do not worry, the original footage will remain in the Event folder
Adding titles and credits
You can add text to your film to create opening titles as well as end credits to give it a more
professional look. You can also use titles throughout the film to help tell your story.
For this guide, we are going to use a standard title card for the opening titles.
• In the bottom right hand corner of iMovie, click on Maps and Backgrounds
• Select a background colour for your title card (black will give a more cinematic feel)
• Drag this to the start of the film on the Timeline
• Just above Maps and Backgrounds, click on Titles. This will bring up the title options
• Select Standard and double click to reveal the text editor
• You will see that a purple tag has been added to the timeline. Double click this and you can
now edit the text in the right hand window
• You can change the font, size, colour and alignment of the text
• Once you are happy with the text, tick to apply the adjustments
• Make sure that the purple tag is positioned over the title background
Adding transitions
Transitions are used to smooth or blend the change from one scene to another. You can have a
clip fade in or out, dissolve into another clip or zoom in to another clip. There are lots of different
options. For this guide, we are going to add a Cross Dissolve Transition.
• In the bottom right hand corner of iMovie click on Transitions

• Select Cross Dissolve and drag down to the Timeline to fit between each of the different clips
• When you play the film through the Project Browser, you will see how the cross dissolve
function makes the change from shot to shot smoother
Sharing your film
Once you are happy with the order of the clips you have assembled you are ready to save the final
version and create your film.
• Select File and Share

• Select File and then Next
• You can now select where you would like to save the film file on your computer
• Select Save
• You will receive a notification onscreen to say that the share file was successful

Thinking About Assessment Using Film
What points of
What do I want pupils What do I want How could I check
grammar or language
to learn about the pupils to be able to do that pupils are
skills do I want to focus
language during our by the end of our film making progress as
on during this sequence
film study lessons? study sequence? we study a film?
of lessons?
SUGGESTED GRAMMAR CHECKING FOR

LEARNING OBJECTIVES POSSIBLE OUTCOMES
FOCUS/SKILLS ACQUISITION LEARNING
• Extend vocabulary • Gender of nouns • Say, write and use in Can pupils:
• Memorisation skills sentences the names • pronounce names of film
of different types of types accurately?
films confidently
• categorise nouns by gender?
• Say, write and use in
• recall a range of film types
sentences the names
from memory?
of different types
of camera angles / • write the names of different
shots confidently types of films accurately?
• match names of film types
+ film titles?
• listen to a sound track and
say what type of film it
comes from?

Assessing Language and Literacy Skills Using Film
Example activities Assessed through

Analysing film or written sequences. Examination of Observation. Discussion. Analysis grids.
character, colour, camera, story, setting or sound. Using Recorded conversations. Group discussions.
precise vocabulary to convey thoughts, ideas, relevant Written summaries etc.
information, justify opinions etc.
Skill Evidence
Retrieving information
Deduction
Description
Visualisation
Contextualisation
Discussion
Decoding
Considering
Examining
Interpreting
Deconstruction
Comprehending
Inference
Definition
Communication
Predictive skills
Language development
Vocabulary development
Listening skills

Thinking About Assessment Using Film pg 1/6
Using short films as a context for learning can often be seen by pupils as a
novel or ‘fun’ approach to language learning because film study may be new
to them or outside of their standard language learning context. This should
not mean, however, that learning language through film is not a meaningful
or useful way to acquire new language skills and structures. As such, teachers
should ensure that they make the most of opportunities to move pupils’
learning forward during film study lessons.
To ensure that assessment is effective, teachers should ask the following three
questions from the planning stage when deciding to teach a series of lessons
using a short film:
1. What do I want pupils to learn during the sequence of film study lessons?
2. How can I check that they are making progress during lessons?
3. What types of outcomes might I look for?
In addition teachers may want to identify specific points of grammar or language

learning skills which they want to teach pupils as they work with a film.
Let’s consider each of these three questions in turn.
What do I want pupils to learn during the sequence of film study lessons?
At the planning stage, it is important to think about what you want pupils to
learn during the film study lessons to give the learning sequence structure
and purpose. In practice, this makes a teacher’s job easier and more effective
because it defines a direction of travel; you will find it easier to structure a
sequence of learning activities in relation to the ultimate goal. Here are some
examples of the types of learning objectives which you might plan:
ESPRESS OPINIONS
ESPRESS SIMPLE DESCRIBE A SEQUENCE
AND GIVE
OPINIONS PERSON/CHARACTER EVENTS
JUSTIFICATION

How can I check that they are making progress during lessons?
As a teacher you will probably have a number of techniques for checking for learning
(or assessment for learning). These approaches can apply equally well to film contexts
as any other language learning contexts so do not be afraid to use prompts, elimination,
‘phone a friend’ (from the popular quiz show ‘Who Wants to be a Millionnaire’!) or any
other strategies that you have in your repertoire. What is important to remember is that
checking pupils’ progress towards the learning objectives you have identified will help
your pupils to feel more secure and motivated in their learning.
If your learning objective is, for example, to extend pupils vocabulary, you could plan
learning activities which give pupils the chance to demonstrate whether they can:
• pronounce names of film types accurately

• recall a range of film types from memory
• categorise names of film types by gender / number
• write the names of different types of films accurately
• match names of film types + film titles
• listen to a sound track and say what type of film it comes from – and so on.
Think of this kind of ‘checking’ how the learning as going as an essential indicator
that pupils are making progress. That way by the time you reach a summative
‘testing’ phase of your film sequence, both you and your pupils can feel secure in
demonstrating the learning.
What types of outcomes might I look for?
In reference to assessment, it might help to think of outcomes as a summative test

which will prove to you and your pupils that they have made substantial progress
during the sequence of lessons based on a short film. In other words, has pupils’
learning progressed sufficiently in reference to your original learning objectives to
ensure that they can confidently produce a final piece of work which brings together
the strands of learning.
Outcomes will depend on starting points, prior learning and the maturity of your
students. For example, learners at an early stage of mastering a language might be
expected to say, write and use the names of different types of films confidently in
short sentences.
Pupils at a more advanced stage might be using their study of a short film to learn,
practise and use verb structures in the future tense. An outcome for them might be
to predict what happens next, script a simple sequel to the film they have studied, or
create a short voice-over or subtitle sequence.
Summary
A short summary of possibl planning and progress checklists is on P3-6 of this document.

What points of
What do I want pupils What do I want pupils How could I check
grammar or language
to learn about the to be able to do by that pupils are
language during our the end of our film making progress as
film study lessons? `study sequence? we study a film?
of lessons?

Extend vocabulary • Gender of nouns • Say, write and use in Can pupils:
• Memorisation skills sentences the names • pronounce names of
of different types of film types accurately?
films confidently
• categorise nouns by
• Say, write and use in gender?
sentences the names
• recall a range of film
of different types of
types from memory?
camera angles / shots
confidently • write the names of
different types of films
accurately ?
• match names of film
types + film titles?
• listen to a sound track
and say what type of
film it comes from?

What points of
grammar or language
of lessons?

• Express opinions • Range of vocabulary • Give opinions about a Can pupils:

• Give justification for (e.g., I like/dislike/think film or character • state likes and dislikes?
opinions Make longer that/in my view/in my • Explain an opinion • give additional details
sentences opinion/I consider about a film or to explain their
that, etc. character opinion?
• Use of connectives
Describe a character or • Adjective agreement • Describe a character in Can pupils:

setting writing or speaking • understand the
• Word order
• Identify a film meaning of a range of
character/setting from adjectives?
a description • use a range of
adjectives to describe?
• use correct word
order?
• pronounce adjectives
accurately to indicate
correct endings?

What points of
grammar or language
of lessons?

Sequence events • Time indicators • Sequence the story told Can pupils:
• Perfect/imperfect in a film using images/ • listen to film dialogue
tenses sounds for support and match to pictures
• Tell the film story using • match pictures and
sequencing words text from the film in
• Listen to and match chronological order?
to film dialogue and • understand and use a
sequence range of vocabulary to
• Retell all or part of the sequence events in the
film story using a range film (e.g., first of all,
of sequencing words then, after…)?
Summarise • Time indicators • Summarise the film Can pupils:

• Perfect/imperfect narrative • use a range of high-
tenses • Re-tell a story to frequency verbs in
include more detail/a the past to say what
different ending happened?
• use a range of time
indicators?

What points of
grammar or language
of lessons?

Make predictions • Time indicators • Predict what Can pupils:

• Future/conditional happens next • use a range of high-
tenses • Imagine a sequel frequency verbs in the
to a film future or conditional
to say what will or
might happen?
• use a range of time
indicators?

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Answer sheet Short Film in Language Teaching

WEEK 1 Guides and activity sheets

1.5 CS AND SS – CINE-MINIS BOOKLET – THINKING ABOUT FILM

bfi.org.uk | © British Film Institute 2018 intofilm.org | © Into Film 2018

THINKING ABOUT FILM

For teaching notes and guidance go to: www.bfi.org.uk/education/cineminis

Cine-minis DVD insert

In this section we outline and explain a number of key concepts that

For teaching notes and guidance go to: www.bfi.org.uk/education/cineminis 15

There are considerable overlaps in the ways we can approach learning

The characters we meet in a film are revealed to us via:

The choice of setting to a large extent determines the narrative – what

In live-action films there are two kinds of settings:

In animated films, settings are created especially for the film:

In 2D, eg the jungle of La queue de la souris, or the village and forest of

In 3D or CGI – virtual 3D – eg the pencil sequences in Les crayons

Animation enables filmmakers to explore spaces that would be unlikely

For teaching notes and guidance go to: www.bfi.org.uk/education/cineminis 17

Filmmakers can choose the perspective they give us on a place; for

Approaches to studying story in film ought to cover some sense of the

A helpful way of analysing and discussing films, or any texts with a

There is symbolic material on a micro-level too, even in the live-action

Sound helps to tell the story in a film in two ways:

For teaching notes and guidance go to: www.bfi.org.uk/education/cineminis 19

For teaching notes and guidance go to: www.bfi.org.uk/education/cineminis 21

In a film, the camera acts almost as a ‘narrator’, leading the viewer

Composition (or ‘mise en scène’) is one of the key visual resources

It is important to remember that no shot in a film is actually static:

Shots aren’t only edited together to develop narrative continuity;

For teaching notes and guidance go to: www.bfi.org.uk/education/cineminis 23

Other films securely occupy a specific genre: La queue de la souris is a

The Tell Me questions on page 25 indicate ways of talking about categories

The first Evens Prize for

Film and image credits

Further credits for the many people who contributed

Ciné-minis © British Film Insitute 2010

For teaching notes and guidance go to: www.bfi.org.uk/education/cineminis 29

TEACHING WITH SHORT FILMS

bfi.org.uk | © British Film Institute 2018 intofilm.org | © Into Film 2018

Asking questions – the Tell Me approach

This questioning framework was worked on and refined over a long

For teaching notes and guidance go to: www.bfi.org.uk/education/cineminis 25

In 2003, the BFI approached the CLPE to join in a collaborative research

For teaching notes and guidance go to: www.bfi.org.uk/education/cineminis 27

The first Evens Prize for

Film and image credits

Further credits for the many people who contributed

Ciné-minis © British Film Institute 2010

For teaching notes and guidance go to: www.bfi.org.uk/education/cineminis 29

MOVING IMAGES IN THE CLASSROOM

bfi.org.uk | © British Film Institute 2018 intofilm.org | © Into Film 2018

CHAPTER 1 Basic Teaching Techniques

BASIC TEACHING TECHNIQUE KEY QUESTIONS LEARNING OBJECTIVES

" Sound and Image

BASIC TEACHING TECHNIQUE KEY QUESTIONS LEARNING OBJECTIVES

' Cross-media Comparisons

MOVING IMAGES IN THE CLASSROOM

bfi.org.uk | © British Film Institute 2018 intofilm.org | © Into Film 2018

Working with moving images in MODERN FOREIGN LANGUAGES

Working with moving images in ART AND DESIGN

Squeaking noise as something turns

Slower squeaking noise

Water gushing noise

Occasional 'sucking up a straw noise'