teaching resources for pea
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teaching resources for pea
A repository for online resources that could come in handy
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SASC Year 10 Extension English with Ms. Langley - Mississippi Burning

SASC Year 10 Extension English with Ms. Langley - Mississippi Burning | teaching resources for pea | Scoop.it

Teaching materials for studying Mississippi Burning

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Travel Back in Time with Tony Wolf - Terbang ke Masa Lalu bersama Tony Wolf The Romans - Roma A Lift The Flap Book - Buku Berjendela

Travel Back in Time with Tony Wolf - Terbang ke Masa Lalu bersama Tony Wolf The Romans - Roma A Lift The Flap Book - Buku Berjendela | teaching resources for pea | Scoop.it
Edisi Dwibahasa Inggris-IndonesiaBuka jendelanya. dan kau akan terbang ke masa lalu!Lihat kebesaran dan kejayaan Kekaisaran Roma.Kunjungi Colosseum dan saksikan pertarungan gladiator, balap kereta perang, dan pacuan kuda.
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Balai Bahasa Indonesia Perth inc.

Balai Bahasa Indonesia Perth inc. | teaching resources for pea | Scoop.it
Balai Bahasa Indonesia Perth - the place to learn about Indonesian language and culture...
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Camera Angles

Camera Angles | teaching resources for pea | Scoop.it

Camera angles and movements combine to create a sequence of images, just as words, word order and punctuation combine to make the meaning of a sentence. You need a straightforward set of key terms to describe them..

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Camera shots, angles and movement, lighting, cinematography and mise en scene, Film overview, Skills by text type: film, English Skills Year 9, NSW | Online Education Home Schooling Skwirk Australia

Camera shots, angles and movement, lighting, cinematography and mise en scene, Film overview, Skills by text type: film, English Skills, Year 9, NSW Film Techniques Film techniques is the term used to describe the ways that meaning is created in...
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The Language of Film

A glossary of film language, including basic vocabulary, camera positions, camera angle, camera movement, camera view, transitions, time and sound..

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The Argument Sketch

From "Monty Python's Previous Record" and "Monty Python's Instant Record Collection"
Originally transcribed by Dan Kay (dan@reed.uucp)
Fixed up and Added "Complaint" and "Being Hit On The Head lessons" Aug/ 87
by Tak Ariga (tak@gpu.utcs.toronto.edu)


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The Hunger Games Vs. Truman Show - English 7 Honors

The Hunger Games Vs. Truman Show - English 7 Honors | teaching resources for pea | Scoop.it

The Truman Show and the Hunger Games are two pieces of work that represent similar themes.  While the two stories are extremely different from one another, there are many strong connections that can be made. It is your job to find these connections and express them through a written essay. It is important that you find strong connections between this movie and book and support them with as many details and pieces of evidence that you can. Be sure to elaborate on each idea..

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Mr Sharpe the Teacher: The Truman Show

Mr Sharpe the Teacher: The Truman Show | teaching resources for pea | Scoop.it

This week we'll be focussing on painstakingly dissecting some of the key scenes to look at how the director (not Christof, the director of the film - Peter Weir) creates the idea that Truman is being controlled..

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The Truman Show study guide from Ignatius College

By the end of July 1998, The Truman Show had grossed $100 million at the American box office, critics seeing it as efficient entertainment and an intelligent concept for a contemporary audience. Seen today, it is another example of that millennial trend for moving image texts that draw attention to the status of the image as “image”. Pleasantville (1998), The Blair Witch Project (1999), Big Brother (2000) and the Reality TV genre toyed with the conventions that shape our contract with the screen, playing with that boundary between moving images and real experience in revealing ways.

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Mississippi's Burning

An essay by Alan Smithee

 

American film critic Harlan Kennedy has written scathingly of 'the poverty of invention' in the film industry. He claims that Hollywood is driven by success at the Box Office and consequently the time is getting closer when "new stories will be a thing of the past: The packaging will change, a different star, a different locale, a different piece of music on the soundtrack - but for the rest each film will be essentially the same as all the others".
I watched Police Academy V on television last night and know what he means. No question about it the formula movie is here to stay. Like popular literature it has a part to play in common culture and it is precisely because of this that I would argue, even given the limitations of the Hollywood framework, it can be at its best both entertaining and a powerful vehicle for social change. Mississippi Burning directed by Alan Parker is one such film - a thought provoking and deeply moving piece of work, from conception a bankable asset, not an 'art film' but nonetheless 'a tale worth telling, powerfully told'. Released by Orion in 1988 the film was marketed as a thriller. The certification (15) clearly placed it in the commercially viable market with the production company addressing themselves to the cinema going audience and therefore restricting sex, violence and bad language to 'acceptable 'standards. Significantly violence had the highest profile in this film while sex was diluted into 'romance' and bad language was that which had already passed into common culture rather than serious profanity. The marketing hype exploited the selling features (in true Hollywood tradition) as being the thriller with violence of classic proportions dominated by the stature of its stars - William Dafoe and Gene Hackman. Parker's film however becomes much more than this. Loosely based in fact it exposes racism in the Deep South of America.
When three civil rights activists disappear from a small Mississippi town in 1964 the F.B.I. responds immediately (much is made of the fact that two of the missing men were white) by sending in agents Dafoe and Hackman, the former a by-the-book Yankee determined never to violate the rights of the interrogated, the latter a local boy and therefore tainted by the South, a streetwise complex character who believes simultaneously that to deal with 'scum' you must sink to gutter level and 'If you ain't better than a "nigger" who are you better than?' This of course is formula movie of a sort - the instantly recognisable 'buddy-buddy' cop movie fleshed out with the generic conventions of the thriller. Somehow though the film expands the generic strait jacket and becomes an ideological statement. When Dafoe and Hackman put in their first appearance - two cops motoring into Mississippi - their character defining banter comes as a light relief to the opening sequence just witnessed by the audience - for it was in those opening moments of the film that Parker seared his message into our consciousness in images fired by anger:
Mississippi Burning brings out precisely the imperviousness of a Southern community to change - the intractability of economic and social oppression. At a time when the anti-liberal values of small town America still seem in the ascendant, and when the Supreme Court is whittling away at the achievements of the 1960's, the films underlying message is that all those battles have to be fought again and much harder than before.
The Opening Sequence clearly establishes the mood of the film as being one of anger - a justified response to the events we witness and an anger which is fed throughout the film. The first image is a visual metaphor of hate and destruction. In the dark of night angry flames lick the sky and this, for me, becomes the dominant image of the film recurring frequently as a plaintive voice sings a black spiritual. This image is central to the film - the oppression and the painful response to it is at the heart of the film. The plaintive voice, the flaming cross and the contextless destruction by fire shifts the focus of this film to issues rather than individuals although the tension between individuals has also a part to play in moving the narrative forward. A detailed examination of the opening sequence alone firmly establishes the thriller genre - masterly in its control of tension and suspense.

There are in fact two distinct sequences which Parker fuses (montage) to imply a relationship between them. Firstly the opening image of a burning shack in the night followed by a lengthier sequence ln a car filmed in long shot coming slowly through the night towards the camera. The mis-en-scene in this sequence is a testimony to Parker's skill in creating suspense and tension from the first shot of the activists car driving through the still of the night, then the unsettling, threatening and ultimately terrifying rhythm of the soundtrack which accompanies their predators 'chase' to the brutal murder which we, the audience, knew was inevitable. Hitchcock the master of the thriller genre identified Suspense as being of crucial importance in the genre. Suspense, he said, is created when a character in a film is in danger, but doesn't know it while the audience can see that the character is in danger - The audience is waiting for something to happen and it does.
In essence the film is a study of race hatred and the director has employed the conventions of classical editing to construct this 'hatred' in such a way as to draw the audience into an empathy with the focus of hate being the activists and then the Blacks.

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The Currrent State of Indonesian Language Education in Australian Schools

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Maps of Indonesia by Peter Loud

Maps of Indonesia by Peter Loud | teaching resources for pea | Scoop.it
Maps of Indonesia by Peter Loud, Maps and Information on Indonesia, and a link to the Digital Map of the World by PL.
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The Grammar of TV and Film

The Grammar of TV and Film | teaching resources for pea | Scoop.it
This list by Daniel Chandler was
produced to support a course on Learning from Television.

Television and film use certain common conventions often referred to as the 'grammar' of these audiovisual media. This list includes some of the most important conventions for conveying meaning through particular camera and editing techniques (as well as some of the specialised vocabulary of film production).Conventions aren't rules: expert practitioners break them for deliberate effect, which is one of the rare occasions that we become aware of what the convention is..

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Film Technique PowerPoint by Johnathan Quinones

Powerpoint JQ did in class about the techniques used in films.

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Traditional Film Camera Techniques

Traditional Film Camera Techniques | teaching resources for pea | Scoop.it

In film and video production the cinematographer sets the camera shots and decides what camera movement is necessary for a scene. An excellent way to learn how to be a cinematographer is to take filmmaking courses, since the methods of film cinematography are valid for computer animation..

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From The Truman Show to Survivor: Narrative versus Reality in Fake and Real Reality TV

In this essay Marie-Laure Ryan proposes to compare the fictional TV show of Truman to the real one of Survivor with two questions in mind: (1) how dependent on other genres and media is the TV Reality show, and through what cultural patterns, especially narrative ones, does it filter live data; (2) in what sense does its output deserve to be called reality..

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The Truman Show - Short Questions and Extended Responses | buildingthefuture.com.au - teacher resources and e-learning information

Here’s some work that I’ve used with my Year 11 English class as part of a study of the movie “The Truman Show”. There are some short answer questions which you could modify and adapt for younger audiences, or the extended response questions could be used as an oral presentation rather than as a written response..

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The Truman Show (Philosophical Films)

Philosophical issues explored in the film include free will/determinism, existentialism/individualism, and appearance/reality..

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