CHAPTER TESTS AND
ANSWER KEYS
Teacher’s Note: In addition to the tests provided here, you can download quizzes for the
lessons in each chapter by going to The Story of Movies website, www.storyofmovies.org
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Name
Class
Date
Chapter 1 Test
Chapter 1 Test: What Is a Movie?
Part 1: Key Terms
Directions: Match each definition below with the correct term by writing the letter in the space provided.
1.
2.
3.
4.
____ Background information about the characters or the setting of the story,
usually presented in act 1
____ A process which includes identifying historically, culturally, and/or aestheti
cally significant films that are in danger of being lost or damaged through
improper storage or chemical deterioration
a. narrative hook
b. climax
c. exposition
d. inciting incident
____ A category of work based on subject matter, style, narrative structure,
and established conventions or filmmaking techniques
e. film preservation
____ The main idea or message that the director hopes to communicate to
an audience
g. rising action
f. resolution
h. theme
5.
____ An event that occurs early in the story and sets in motion the action that
will follow
6.
____ The cause-and-effect events that lead to a turning point during act 2
7.
____ How the story is told, including the order, or sequence, of action in
the film
8.
____ The most dramatic moment in the story, representing a turning point in
the action
9.
____ The part of the plot that captures the viewer’s attention, usually through
the introduction of an initial conflict or unusual setting or occurrence
10. ____ In act 3, the final outcome of the events
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i. narrative structure
j. film genre
Part 2: Narrative Structure in The Day the Earth Stood Still
Directions: Circle the correct answer for each question below.
a. Helen witnesses Gort bring Klaatu back to life.
b. Gort obliterates, or completely destroys, a military tank that has confronted the spaceship after it lands in
the nation’s capital.
c. Bobby sees Klaatu using a flashlight to signal to Gort.
d. Gort removes Klaatu’s body from the prison cell.
12. On his second visit to the military hospital, Harley tells Klaatu he has bad news for him. What is that news?
a. Professor Barnhardt is not available to meet with Klaatu.
b. The president of the United States has refused to call a meeting of world leaders to meet with Klaatu.
c. The president of the United States has invited the world leaders to meet with Klaatu, but they have all
refused to attend for a variety of reasons.
d. The president of the United States believes that Klaatu is a national security threat, and so he cannot leave
the military hospital.
13. In act 2, Klaatu meets with Professor Barnhardt. What rising action, or plot development, results from this meeting?
a. Professor Barnhardt discusses with Klaatu the possibility of traveling through space.
b. Professor Barnhardt holds a meeting with the military and convinces them to allow the world’s scientists and
political leaders to meet with Klaatu at the spaceship landing site.
c. Klaatu is shot by the military police while trying to get to the spaceship landing site.
d. Klaatu comes up with a plan to display his immense power as a way to convince Earth people to listen to his
message about global violence.
14. Which of the following is the climax, or turning point, in the film?
a. Gort removes Klaatu’s body from the prison cell.
b. Billy sees Klaatu enter the spaceship.
c. Helen orders Gort, “Klaatu barada nikto.”
d. The military police shoot and kill Klaatu.
15. Which of the following is not a conflict resolution in the film?
a. Tom Stevens discovers the truth about Klaatu’s diamonds—that they are not from Earth.
b. Because of Helen’s command, Gort does not destroy the Earth.
c. Klaatu delivers his message of conflict resolution through peaceful means to the world’s scientists and
other leaders
d. Gort releases Helen without harming her.
16. The theme of the film can best be stated as
a. scientists can save the world through their knowledge of atomic energy.
b. life exists on other planets and in other universes.
c. scientists and the military must learn to work together to end war on Earth.
d. unless world leaders learn to solve problems without violence, they risk destroying the Earth.
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Chapter 1 Test
11. Which of the following events occurred in act 1 of The Day the Earth Stood Still?
17. Which of the following is an expository detail presented in this film?
a. Bobby’s father died during a war.
b. A nervous soldier shoots and wounds Klaatu soon after he arrives on Earth.
d. All of the above
18. Which of the following is a way that filmmakers can create meaning?
a. Repetition, or showing an object over and over again suggesting it is important
b. Association, or linking an object or place with a person and thereby suggesting a relationship
between the two
c. Sound emphasis, or adding sound effects or music to a scene or varying the sound level of dialogue
d. All of the above
Part 3: Film Genres
Directions: Use a complete sentence or sentences with specific details to answer each question that
follows. Write your answers in the spaces provided below.
19. Identify and describe six different film genres, other than science fiction.
20. Identify three characteristics of science fiction films and provide examples of each from The Day the Earth
Stood Still.
Part 4: Film Heritage
21. The Day the Earth Stood Still is among the films listed on the National Film Registry. Write a paragraph answering
this question: Why is this film, in particular, considered important enough to be preserved for future generations?
Consider the criteria necessary for nomination to the registry and support your statements with details and/or clear
reasoning. Write your paragraph on a separate sheet of paper.
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Chapter 1 Test
c. Klaatu escapes from his hospital room.
Name
Class
Date
Part 1: Key Terms
Directions: Match each definition below with the correct term by writing the letter in the space provided.
1.
____ This person’s tasks include creating sets and finding exterior locations
when they are needed for a scene.
2.
____ This person’s tasks include selecting shots from raw footage, then cutting
and splicing those shots together into a sequence.
3.
____ This person works with the director to plan how to light and shoot
each scene in the script.
a. backlot
b. cast
c. cinematographer
d. cinematic conventions
e. continuity
f. director
4.
____ All actors in the film
5.
____ This person has the most complete understanding of the film’s story,
narrative structure, and visual design.
g. film editor
h. pacing
____ The screenwriter’s work is generally completed during this period of
developing a film.
i. pre-production
7.
____ Techniques or devices a filmmaker uses when creating a film, including
shots, camera angles, and lighting
k. property
8.
____ A segment of film made up of a series of single frames set in motion
9.
____ A series of shots joined so as to communicate an action that occurs in one
time and place
6.
j. production designer
l rough cut
10. ____ A movable object that is part of a set
11. ____ A large acreage of land that a studio uses for filming movies
12. ____ The coherent way in which shots are spliced together so that the story
not only flows smoothly from one shot or scene to another but also
makes sense
13. ____ The timing of the assembled shots
14. ____ The first draft or assembly of a film, from opening shots to final shots
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m. scene
n. shot
Chapter 2 Test
Chapter 2 Test: The Filmmaking Process
Part 2: Stages of Production
Directions: Circle the correct answer for each question below.
16. Shot transitions, such as dissolves, are created by
a. the cinematographer during pre-production.
b. the cinematographer during production.
c. the film editor during production.
d. the film editor during post-production.
17. The music score for a movie has two primary purposes—to trigger an emotional response in the audience and to
a. entertain the audience.
b. compress time so that the audience does not become restless and bored.
c. convey information and suggest meaning.
d. control what the audience hears.
18. Which of the following statements is true?
a. A montage communicates action that occurs in a single place and time.
b. A montage and a scene are two different names for the same cinematic technique.
c. A montage is created by the music composer or sound editor during post-production.
d. A montage is a sequence of shots arranged so as to suggest meaning and symbolic associations.
19. A director considers multiple factors when deciding which actor to cast in a role. Which of the following
generally is not one of those factors?
a. the actor’s costumes, makeup, and hairstyles
b. the actor’s physical characteristics
c. acting ability
d. previous roles portrayed by the actor, suggesting a character type
20. A soundtrack has three elements. Which of the following is not one of those elements?
a. dialogue
b. sound effects
c. music
d. continuity
21. Study the two photographs below. The images illustrate a filmmaking technique called
a. rear projection.
b. narrative structure.
c. a reaction shot.
d. a montage.
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Chapter 2 Test
15. The photograph to the right is from The Day the Earth Stood Still.
This photograph was taken
a. during the pre-production stage of making the film.
b. during the production stage of making the film.
c. during the post-production stage of making the film.
d. after post-production, once the film was released in theaters
as part of the film’s publicity promotion.
Part 3: The Soundtrack
22. Explain what a theremin is and why Bernard Herrmann selected the theremin for the soundtrack of The Day the
Earth Stood Still.
23. What is the difference between visible and invisible sound effects, and what is the purpose of each on
a soundtrack?
24. What were the “speakies,” and how did audiences react to the speakies, according to news reports of
the 1920s?
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Chapter 2 Test
Directions: Write a short paragraph to answer each of the questions below. Write your answers on a
separate sheet of paper.
Name
Class
Date
Part 1: Key Terms
Directions: Complete the sentences below by selecting the best term from the options provided in
parentheses. Write the words on the lines provided.
1. When the camera is positioned so as to suggest to the audience This is what the character is looking at, this is
called ____________________________________________. (objective point of view, subjective point of view)
2. When the camera is placed so that it looks down on a subject, making the subject appear smaller, this type of
shot is called ____________________________________________. (high-angle, low-angle)
3. A ____________________________________________ (fixed camera, mobile camera) can move in one of three
ways: It can pan, tilt, or zoom.
4. The object or person the cinematographer wants the audience to notice within a frame is called the
____________________________________________. (cinematic point of view, point of emphasis)
5. Placing a light source in front of the subject being filmed is a cinematic technique called
____________________________________________. (front lighting, foreground framing)
6. A transition between shots in which one image slowly fades away while at the same time another appears on
the screen to take its place is called a ____________________________________________ . (wipe, dissolve, cut)
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Chapter 3 Test
Chapter 3 Test: Film Language and Elements of Style
7. ____________________________________________ (A sequence, Reel time, A transition) is compressing or
8. ____________________________________________ (Light intensity, High-key lighting, Low-key lighting)
is the amount of light a cinematographer uses for a shot so as to control what the audience sees.
9. ____________________________________________ (A long shot, Composition, Perception) is the arrangement of elements within a single frame.
10. A technique for representing three-dimensional space on a flat surface in order to create the illusion of
depth and texture is called ________________________________________ (a long shot, perception, perspective)
11. The building blocks of design include line, texture, shape, _____________________________________ .
(color and space, space and depth)
12. The opening shots of a film, which identify the filmmakers, are called
________________________________________ (implicit information, mise-en-scène, title credits).
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Chapter 3 Test
expanding time in a film so that the story can be told in about two hours.
Part 2: Mise-en-Scène
To complete this section of the test, you will view a scene from The Day the Earth Stood Still and record your observations on the Screening Sheet below. This activity tests your critical-viewing skills and your understanding of film
language.
Screening Sheet 3-9: Carpenter’s Confession
What You Will See: The action takes place in a federal office building. The scene features both Helen and
Mr. Carpenter (Klaatu) as well as supporting actors.
Directions: View Film Clip 3-9, located on the DVD. This Screening Sheet has 13 questions. You must
answer at least 10 of these questions. Before viewing, read each of the questions below so you know
what to observe and record. While viewing, complete as much of this sheet as you can. Write your observations in the spaces provided. Then circle the number of each question you wish to submit for scoring.
Camera Angles and Distances
1. Identify a long shot in this scene and explain what information the shot presents to the audience.
2. Describe a medium shot in this scene and explain the purpose of that shot.
Lighting
3. Observe closely the shot at right taken from this scene. Then answer the questions below.
a. Is high-key or low-key lighting used? How do you know?
b. What is clearly shown and what is not easily seen?
c. How does the lighting affect your understanding of what is happening here or what Helen may
be experiencing?
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Screening Sheet 3-9
Note to teachers: Allow students to view the film clip more than once.
4. Compare and contrast the lighting in the image at right, also taken
from this scene, with the image shown in question 3.
Screening Sheet 3-9
Movement
5. Describe a shot in the scene in which the camera moves closer to the subject, and provide an explanation for
the use of this movement in the shot. Is this a fixed or a mobile camera shot?
6. Describe a shot in the scene in which the camera as well as the subjects within the frame move. What visual
clues tell you this is a mobile camera shot?
Point of View
7. In the opening shot when Helen first encounters Mr. Carpenter in her office, does the camera placement suggest
an objective or a subjective point of view? Provide a reason for your answer.
Sound
8. Identify two different sound effects on the soundtrack for this scene. Are these effects visible or invisible?
Provide a reason for your answer.
9. Music is part of this scene’s soundtrack. At what point does the music begin? Describe what the music sounds
like and what you think are its intended effects—either to communicate information, to suggest meaning, and/or to
trigger an emotional response.
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Editing
10. Identify a reaction shot in this scene that focuses on Helen. Explain what her reaction is and to what she
is reacting.
Overall Composition
12. Comment on the composition of the frame in the still at right, noting in particular the placement of people
and/or objects, the camera placement, and any design elements.
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Screening Sheet 3-9
11. Identify the type of transition that occurs at the point when Helen answers the telephone in her office.
Provide a reason for this visual transition.
Name
Class
Date
Part 1: Key Terms
Directions: Circle the correct answer for each question below.
1. What is the difference between a fact and a depiction?
a. A fact is always true. A depiction is always false.
b. A fact is based on historical evidence. A depiction is never based on historical evidence.
c. A fact can be proven, but a depiction cannot, because it is someone’s interpretation of a person,
a place, or an event.
d. There is no difference: A fact and a depiction are the same thing.
2. A film may be considered a primary source document if
a. it is at least ten years old and reveals a fact about a historical or cultural event.
b. it has been created by someone who saw and captured on film an event as it occurred.
c. both a and b
d. none of the above
3. A movie trailer is
a. an advertisement for a film.
b. a short documentary film.
c. a primary source document.
d. a depiction of a cultural event.
4. Propaganda uses persuasive strategies to tell people
a. what to think.
b. how to think.
c. how to interpret depictions.
d. the truth about a confusing or a complex historical or cultural issue.
5. All of the following are propaganda techniques except
a. the use of repetition
b. an implied comparison between two unrelated things
c. a revelation about the world or human spirit
d. the use of emotional words and phrases
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Chapter 4 Test
Chapter 4 Test: Historical and Cultural Contexts
Part 2: Film Depictions
Directions: Answer each question below using a complete sentence.
7. The image to the right appeared in a film segment you viewed while studying this
chapter. What does the visual symbol of the clenched fist represent?
8. Explain in your own words whether The Day the Earth Stood Still depicts the character of Bobby in a positive or a
negative way. Provide an example from the film to support your opinion.
9. In the 1950s, how did most Americans learn of current news events, and how does The Day the Earth Stood Still
mirror this reality?
Part 3: America’s Cold War on Film
Directions: Read each group of statements below, then determine which statement or statements are accurate and
which are misleading. Check the box before all true statements.
10.
a. The Doomsday Clock was a real working clock that measured radioactivity on the planet during the
1950s and 1960s.
b. The Doomsday Clock exists in science fiction films only and not in real life.
c. The Doomsday Clock was a propaganda strategy created by the Bulletin of Atomic Scientists to make
people aware of the dangers of nuclear attack.
d. The Doomsday Clock was first featured in “Duck and Cover,” a civil defense film about what to do in case
of a nuclear attack.
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Chapter 4 Test
6. Identify four ways a filmmaker can create depictions using composition and framing techniques.
(Chapter Test 4, continued)
11.
a. Duck and Cover is on the National Film Registry as a film of historical and cultural significance.
c. Duck and Cover was a propaganda film of the 1950s, created by the United States government and
shown in elementary classrooms across the country.
d. Duck and Cover is a fictional narrative about children’s brave actions during an atomic attack.
12.
a. President Truman wrote in his diary that he believed the atomic bomb could be most useful but,
he wrote, it was the most terrible weapon to use.
b. The Trinity Test, an explosion of an atomic bomb by the United States military, was a top secret
mission, and no photographic or moving picture documents exist which recorded this event.
c. Watch the Skies! is a science fiction film set in the 1950s.
d. Documentary filmmakers sometimes use footage from works of art, including fictional films,
to illustrate key points.
Part 4: Essay Topic: America’s Cold War and Science Fiction Films
Write a three-paragraph essay explaining what America’s Cold War was and how science fiction films of the 1950s,
in particular, reflected America’s fears of and concerns about the Cold War.
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Chapter 4 Test
b. In Duck and Cover, Bert the turtle tells children that the best way to protect themselves during a
nuclear attack is to hide under a desk or crouch against a wall.
Answer Key
Answer Key
Chapter 1: What Is a Movie?
Part 1: Key Terms
1. c, 2. e, 3. j, 4. h, 5. d, 6. g, 7. i, 8. b, 9. a, 10. f
Part 2: Narrative Structure
11. b, 12. c, 13. d, 14. c, 15. a, 16. d, 17. a, 18. d
Part 3: Film Genres
19. Answers should include six of the following: action/adventure, featuring fast-paced activity and physical stunts as
well as exotic or unusual settings and conflicts; biography, the retelling of a person’s life story; comedy, featuring
humorous characters and/or situations (some students may note the subgenres such as satire or slapstick); crime
and detective, focusing on the struggle between a criminal and his/her victims or between the criminal and the
police; documentary, or nonfiction films that may cover a wide range of subjects from current events to portrayals
of historical events; drama, featuring serious and realistic stories of life situations and focusing on character development; fantasy, focusing on imaginative or mythological places and characters; horror, focusing on the macabre or
ghoulish and intended to frighten or cause dread in an audience; musical, featuring song and dance routines as a
way to elaborate a storyline; war, focusing on battles or on mental conflicts of soldiers and those involved in battle;
western, focusing on a struggle between civilization and wilderness, lawfulness and lawlessness.
20. Answers should include the following key points: emphasis on science or technology, speculation about future or
current events, and social commentary. In citing examples from The Day the Earth Stood Still, student answers will
vary but may include the following: Gort’s robotic powers and laser-like eye as well as Klaatu’s impenetrable spaceship and his ability to stop all motion on Earth; Klaatu’s warning that Earth’s continued development and misuse of
nuclear weapons will lead only to destruction of life on the planet. Social commentary may include the stubbornness
of governments on Earth to try to solve their differences through peaceful rather than violent ways.
Part 4: Film Heritage
21. Answers will vary but should address a key criterion of the National Film Registry: a film must have historical,
cultural, and/or aesthetic significance. Student essays should explain what they mean by significant and provide
details from the movie to support that it is a significant film. The Day the Earth Stood Still provides a glimpse into
the values and concerns of Americans in the years following the end of the Second World War, including the country’s
concern over nuclear weapons and foreign or alien invasion.
Chapter 2: The Filmmaking Process
Part 1: Key Terms
1. j, 2. g, 3. c, 4. b, 5. f, 6. i, 7. d, 8. n, 9. m, 10. k, 11. a, 12. e, 13. h, 14. l
Part 2: Stages of Production
15. b, 16. d, 17. c, 18. d, 19. a, 20. d, 21. a
Part 3: The Soundtrack
22. Answers will vary but should include the following key points: The theremin was a musical instrument, invented
by a Russian physicist, which was possibly the first-ever electronic instrument. Some students may explain how to
play the instrument, i.e., by moving hands around the two antennas to alter the pitch and volume. Bernard
Herrmann selected the theremin for this film’s soundtrack because of its unfamiliar and eerie sound, which he
believed would contribute to the sense that Klaatu had come from another world or universe.
147
24. The speakies were talking movies, which emerged from silent films of the 1920s. News reports predicted that
speakies would not be popular with audiences. Some students may state further that inventor Thomas Edison, in
particular, felt that the speakies did not provide a relaxing atmosphere and this was, in part, what audiences sought
when going to the movies.
Chapter 3: Film Language and Elements of Style
Part 1: Key Terms
1. subjective point of view; 2. high-angle; 3. fixed camera; 4. point of emphasis; 5. front lighting; 6. dissolve; 7. Reel
time; 8. Light intensity; 9. Composition; 10. perspective; 11. color and space; 12. title credits
Part 2: Mise-en-Scène
Camera Angles and Distances
1 . Answers may include one of the following long shots in this scene: the opening shot of Helen at her desk in her
office is a long shot that establishes the setting and time of day (lunchtime) and indicates that Helen is left alone;
the shot of Tom in the jewelry shop establishes not only where he is (which he also indicates through dialogue) but
also that it is an ornate and rather opulent shop; the corridor of the office building as Carpenter and Helen walk
together is a long shot that again establishes location but also indicates that the area is crowded and Helen and
Carpenter do not have privacy here.
2. Answers may include one of the following: Helen’s initial encounter with Carpenter in the office building is a medium
shot that brings them face to face and in doing so, allows the audience to see Helen’s surprise (some students may
suggest fear or anxiety) at encountering him there; Helen and Carpenter standing in front of the elevator while
others in the background are waiting for it is a medium shot that reveals the lack of privacy. Another medium shot
is Helen speaking on the phone to Tom. Some students may note that the medium distance allows the audience to
read Helen’s facial expressions. A fourth medium shot is when Helen and Carpenter are first alone together inside
the elevator. The audience sees them both, from the waist up, facing one another, and so this shot draws attention
to the closed-in surroundings, suggesting a sense of being captive and perhaps afraid. Students should not suggest
that their closeness suggests romantic intrigue, but rather a sharing of something secret, something important or
potentially frightening.
Lighting
3. a. Low-key lighting; students should indicate the lack of bright lights and the play of shadows across the characters’
faces.
b. The audience can clearly see that there are two people standing close together, and that some of Carpenter’s face
is visible, but the position of Helen (looking away from the camera toward Carpenter) and the use of low-key
lighting obscures Carpenter’s face somewhat so that his facial details are not easily seen.
c. Answers will vary but should focus on the main idea that not just the darkness and shadows but also the type of
shadows—lines like bars—reinforces the idea that Helen is trapped in the elevator with a most unusual being.
The lighting therefore may reflect her apprehension or suspicion or even her fear.
4. Answers will vary but should focus on the use of high-key lighting rather than low-key, allowing the audience to
clearly see the room and especially the empty office behind the glass partition near where Helen sits. The lighting
helps the audience to see that Helen is alone and also that she is looking at her wristwatch.
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Answer Key
23. Visible sounds are directly related to the action on the screen and synchronize with, or happen at the same time as,
that action. Invisible sounds are those heard but not seen on the screen. Invisible sounds create the illusion of a
world beyond the boundaries of the image on the screen. Both visible and invisible sounds help create mood,
atmosphere, and credibility.
6. As Helen and Carpenter walk down the corridor, the camera moves also, proceeding down the corridor with them.
We perceive this because Helen and Carpenter do not grow larger in the camera lens as they walk; the distance
between them and the camera remains much the same.
Point of View
7. This shot is objective point of view. Answers should focus on the main idea that the camera frames the two main
characters so that the audience is looking at them as if through a window and not through the eyes of either Helen
or Mr. Carpenter or another character.
Sound
8. Answers may include the following: the telephone ringing on Helen’s desk (invisible at first, in that we do not see
the telephone on the desk at the moment it rings); footsteps of the people walking in the corridor (visible as we
can see them moving about); the clinking of dishes on the serving cart as the waiter steps from the second elevator
(visible, as we can see the cart in motion); a jarring or clanking sound of the elevator at the point where the light
inside the elevator goes out (this may be interpreted by some as visible since they can see the elevator and invisible
by others since they can’t actually see the elevator jerk to a stop – both responses are valid.)
9. Music begins at the point where the elevator jerks and the lights go out. Description of that music will vary but
should include the main idea that the sounds are chords, possibly generated by the theremin, softer rather than
blaring but also a bit dissonant, which some students may describe as mysterious or suspenseful. The use of music
here does not convey information but rather triggers an emotional response in the audience and suggests the
tension that Helen may be experiencing.
Editing
10. Answers may include one of the following reaction shots: the medium shot where Helen encounters Carpenter
in her office, showing her surprise (students may also note that the audience hears her reaction as well); the medium
shot in the corridor when Carpenter stresses the importance of needing to speak with her, showing Helen turning
her head to look at the others in the corridor near the elevator, suggesting her understanding that she and
Carpenter will not have privacy there; Helen’s confusion when the elevator stops, showing her looking up and
asking “What happened?”
11. The film editor has cut to a shot of Tom in the jewelry shop where he is getting the diamond appraised. This shot
communicates to the audience who has called Helen and why.
Composition
12. Answers should include these key points: medium, eye-level shot with foreground framing; background placement
of characters all have their backs to the camera so that the point of emphasis is the face-to-face encounter of Helen and
Carpenter; high-key lighting to suggest a public rather than a private space and to show Helen’s facial expressions. The
horizontal line of the elevator door visually links Carpenter with Helen but also emphasizes his height as he is taller
than she and much taller (due in part to his foreground placement) than the other characters.
Chapter 4: Historical and Cultural Contexts
Part 1: Key Terms
1. c, 2. b, 3. a, 4. a, 5. c
Part 2: Film Depictions
6. Answers should include four of the following five key methods used to create film depictions: costuming, hairstyles
and makeup; acting; dialogue; composition techniques of lighting, camera angles and visual symbols; and
reaction shots.
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Answer Key
Movement
5. In the opening shots, the camera moves closer to Helen at her desk and, in doing so, suggests she is the point
of interest in the composition. Also, the movement brings the audience into the office, closer to Helen, and so
involves them in what is about to happen to her. The camera also follows her as she leaves her desk and returns
to answer the phone. These are fixed camera shots, as the camera pans and zooms in.
7. Answers will vary somewhat but should include the main idea of Communist government aggression destroying
free, democratic institutions.
9. Answers will vary but should include the main idea that in the 1950s most Americans received their news about
current events from newspapers, radio and, increasingly, television. The film portrays the news media in a realistic
way, in that it shows newsmen broadcasting and people listening to radio and television news broadcasts. The film
also shows people reading the newspaper, and shows headlines about the spaceship and the missing spaceman.
Part 3: America’s Cold War on Film
The following statements should be checked as true: 10. c; 11. a, b, c; 12. a, d
Part 4: Essay Topic: America’s Cold War and Science Fiction Films
Answers will vary but should mention these key points: Science fiction films of the 1950s reflected specifically a fear
of invasion or a nuclear attack by Communist forces, as well as a general fear of the misuse of nuclear weapons and the
risk of contamination by radioactive fallout from them. Films expressed these fears through the creation of monsters –
sometimes aliens from space, sometimes species mutated by radiation. In some instances the monsters win and the
humans lose but often, the humans come to understand the error of their ways and save the planet from the brink of
destruction. Students should cite specific examples from films discussed in this chapter, including The Day the Earth
Stood Still, Watch the Skies! and Duck and Cover, or from other films they may have seen.
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Answer Key
8. Answers will vary but should focus on the main idea that Bobby’s depiction is overall very positive. He is intelligent,
in that he knows about war and science and has a natural curiosity about the spaceship that has landed. Some
students may also point out that he is brave as well as curious in that he follows Mr. Carpenter during the night
and witnesses his communication with the robot. Also he is honest in telling his mother about what he has seen
and done.
PERFORMANCE-BASED
ASSESSMENT ACTIVITIES
Performance-based assessment (PBA) activities challenge students to move beyond recalling details and basic
comprehension of key concepts. The Story of Movies program has provided the following three PBAs, which
teachers can use as is or adapt to students’ needs. They are:
Chapters 1 & 2: Create an Art Exhibit on a Film Genre. The focus is on characteristics of a film genre,
film heritage, and the filmmaking process. The presentation is a public display of the mounted images
and accompanying commentary. Students must apply information learned in both chapters to complete
the project.
Chapter 3: Create a Mise-en-Scène Activity. The focus is on film language and cinematic composition
with an analysis of how cinematic elements work together to suggest meaning. The presentation is a
written lesson/activity and an analysis provided by the students.
Chapter 4: Present an Oral Report on Film Depictions of the 1950s. The focus is on artistic depictions and
the link between society and film, specifically how film and society both mirror and influence one another.
Each PBA activity has both a student activity sheet for distribution to students, and a teacher page which includes
criteria for assessment.
Keep in mind that performance-based assessments are more subjective than traditional tests, such as the chapter
tests in appendix A. There are no absolute right or wrong answers in PBAs. The assessment criteria on the teacher
pages describe degrees of success in completing the activities. Teachers may wish to share these criteria with students so as to inform them about exactly how their performance will be evaluated.
Keep in mind also that a performance-based assessment activity requires a significant amount of time, either in or
out of the classroom. In addition, educators recommend that prior to assigning an assessment-based activity, the
classroom teacher should perform or imagine performing each step in the activity to determine if it is appropriate
for the ability level of the students who will participate.
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Performance-Based
Assessment
Name
Class
Date
PERFORMANCE-BASED ASSESSMENT CHAPTERS 1 & 2
Create an Art Exhibit on a Film Genre
Student Activity Sheet
The following activity focuses on film genres and film heritage as well as the filmmaking process. The project has
three parts: (1) researching four to six films within a single genre; (2) selecting images from each film for display;
and (3) displaying the artwork in a public space. The purpose of your art exhibit is to illustrate the typical characteristics of a particular film genre, including story elements and narrative structure.
Materials
Access to classic films, either through library collections or Internet streaming services
A VCR or DVD player to view a variety of films
Print resources, such as film encyclopedias or magazines, or reliable Internet resources on classic films
Poster board for mounting images and commentary on those images
Markers, pens
Method
Part 1—Research the Film Genre
Step One: Select the genre. Review the materials presented on film genre in chapter 1, especially the Genre Wheel
on Graphic Organizer 1-2 identifying specific film genres. Decide which film genre interests you the most and
which you’d like to use as the subject of your art exhibit.
Step Two: Determine criteria in selecting films for your exhibit. The purpose of an art exhibit is to display specific
works that are of historical, cultural, or aesthetic interest. Before you decide which films to include in your exhibit,
you must first determine how to choose those films. Questions to consider when looking for films that are representative of the film genre you’ve chosen include the following:
Which films within this genre have historical, cultural, or aesthetic significance? Why are they significant?
Who says so?
Which films or filmmakers within the genre have won awards or were nominated for awards from film
organizations such as the Directors Guild of America (DGA) or the Academy of Motion Picture Arts and
Sciences (AMPAS)? For what were these films nominated—Direction? Cinematography? Production
design? Film editing? Music composition?
Step Three: Research the films within the genre. Use print materials and Internet resources to gather information
on specific films within the genre. Your research goal is to identify four to six films to showcase in your exhibit.
Consult film encyclopedias and other texts in your community or school library, but you may also consider the
following Internet resources:
The Directors Guild of America has a list of searchable files on films and filmmakers that have received
DGA awards. The following Web page provides a way to search film winners by decade:
www.dga.org/thedga/aw_film.php3.
The Academy of Motion Picture Arts and Sciences: www.oscars.org/awardsdatabase/index.html. This page
allows you to search for nominees throughout the academy’s history.
National Film Registry: www.loc.gov/film/filmnfr.html. This site provides links to a complete list of all
films on the national registry, organized by title and year.
Filmsite.org’s lists of greatest films: www.filmsite.org/films.html. The site contains links to various lists of
hundreds of the greatest films.
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Performance-Based
Assessment
Name
Class
Date
Create an Art Exhibit on a Film Genre .)(Cont.)
Part 2—Select Film Stills for Display
Step Four: Identify four to six films for inclusion in your exhibit. Base your selection on the research completed in
step three above.
Step Five: Select and copy two or three images from each film for your exhibit. Again, base your choice of images
on your research or on your personal choice – that is, something you found visually interesting or intriguing.
Your images should show how the film exemplifies the genre you have chosen. You can photocopy images from
magazines and textbooks you have used for research. You might also find still images from films online.
Part 3—Display the Artwork
Step Six: Create title cards for each image in your exhibit. The title card should include the following information:
Title of the film
Name of the director
The year it was released
A caption for the image identifying one or more of the following—characters, conflict, setting
Step Seven: Write a brief commentary on each film. Art exhibits often provide a brochure or commentary cards to
offer insight to the images displayed. Your exhibit should have one commentary card for each film (not each image)
showcased in your exhibit.
Step Eight: Mount the images and texts. Use poster board to create your display. Mount each image separately.
Mount also the title cards and the commentary cards.
Step Nine: Arrange the images for public display. Decide in what order you wish to present your images. One
method of organization is by chronology—the earliest (or more recent) films first. Another method is by theme.
Hang your mounted images with the title and commentary cards in the sequence you wish your audience to
view the display.
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Performance-Based
Assessment
Name
Class
Date
PERFORMANCE-BASED ASSESSMENT CHAPTERS 1 & 2
Scoring Criteria for “Create an Art Exhibit on a Film Genre”
Teacher Page
Use the scoring criteria on this page to assess student work. Some teachers may wish to duplicate this sheet to
distribute to students as an explanation of how their projects will be graded.
“Create an Art Exhibit on a Film Genre” presents students with two challenges: first, to identify films and images
relative to a specific film genre; and, second, to prepare a display of these images so as to communicate key points
about the characteristics of the genre. Assess student work on a holistic 3-point scale to give full or partial credit
on each of these two levels. Maximum score overall = 6 points.
Criteria for Understanding Characteristics
of Genre
Criteria for Displaying the Artwork
How well has the student interpreted and organized
the exhibit? Are the images and text cards reproduced so that they are easy to see and to read?
Has the student shown creativity in approaching
the subject?
Does the student’s work display an understanding
of the characteristics of a specific film genre? Are the
films and images from those films relevant to the
genre? Do the title cards and commentary cards
provide the required information? Has the student
identified key points and drawn conclusions about
the genre chosen for the exhibit?
3 points: Accomplished
3 points: Accomplished
The student has approached the subject with creativity
and originality. Each reproduced image is easy to
read and is neatly mounted. The text cards are likewise neatly printed and coherent. The arrangement
of the images is organized and interesting.
The student’s work provides both relevant and
thoughtful insight to a particular film genre.
The student has identified key characteristics and
has drawn conclusions about the genre. The exhibit
is complete, providing the necessary number of
films, images, and text cards.
2 points: Satisfactory
The student’s work provides information on
the genre but lacks creativity and originality.
The images are adequately reproduced and arranged.
The arrangement of the images and text cards lacks
obvious organization, with some images seemingly
out of place.
2 points: Satisfactory
The student’s work is mostly relevant, though
some film and image selections are not as thoughtful.
The student has identified some characteristics of the
genre. Some text cards are incomplete, either lacking
significant information or not relevant to the image.
1 point: Unsatisfactory
The student’s work is incomplete. Key elements of
the exhibit, either images or text cards, are missing.
The artwork is difficult to see clearly, due to grainy
or uneven photocopying. The exhibit presents information in a random or confusing way.
1 point: Unsatisfactory
The student’s work does not illustrate an understanding
of the characteristics of a particular genre. The films
and images selected are mostly irrelevant. Many of
the text cards are missing or have insufficient information.
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Performance-Based
Assessment
Name
Class
Date
PERFORMANCE-BASED ASSESSMENT CHAPTER 3
Create a Mise-en-Scene Activity
Student Activity Sheet
The following activity requires you to apply your understanding of cinematic composition. In particular, this
activity asks you to identify the relationship between camera angles and distances; visual design, such as colors
and shapes; and lighting. It also asks you to analyze how those compositional elements work together to create
meaning. To complete this assignment, you will create a two-page visual-thinking activity.
Materials
A VCR or DVD player
A DVD or videotape copy of The Day the Earth Stood Still
Access to a computer for preparing and duplicating the written activity
Method
Step One: Select a scene with at least three shots from any point in The Day the Earth Stood Still. The three shots you
select for analysis should be in sequence. When choosing the shots, keep in mind that every frame has compositional
elements, such as camera angles and distances, and lighting. The shots you select should illustrate three or more of
the following compositional elements:
Type of shot, including various camera angles and distances, point of emphasis, and cinematic point
of view
Lighting intensity, including high-key and low-key lighting
Visual design, including line, shape, space, color, and texture
If you are viewing the film on a DVD player, use the pause button to stop the film so that you can study single
frames. Write a description of each of the three shots, noting the sequence in which they appear.
Step Two: Create a visual-thinking chart as a reference for yourself. Use the chart below as a model. In the first
column, list each shot in the sequence as it appears in the scene. In the remaining columns, identify the compositional elements as indicated. For help in identifying the compositional elements listed on the chart, refer to
Graphic Organizers 3-1 to 3-9.
Shot
Lighting
Visual Design
Consider high-key and low-key
lighting, as well as light direction
Consider line, shape, space,
color, and texture
Type of Shot
Consider distance, angle, point of
and brief
emphasis
and cinematic point of view
description
1
2
3
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©2009, The Film Foundation. All rights reserved.
Step Three: Develop the visual-thinking questions. For each image you selected for analysis, create three questions.
The questions should focus on one or more of the compositional elements identified on your chart in step 2.
Questions 1–3, for example, will be based on the composition of shot 1; questions 4–6 will be based on the
composition of shot 2; and questions 7–9 will be based on the third image.
Write a final question (number 10) that focuses on how the compositional elements in the three shots, seen in
sequence, work together to create meaning.
Step Four: Create an answer key. On a separate page, provide answers to all 10 questions. Be sure you use film
terminology when writing your questions and your answers. For example, write “high-key lighting” rather than
“really bright light.”
Step Five: Compile your images, questions, and answers for presentation. You may wish to create your mise-en-scène
activity on the computer as a Word document. Or you can type or neatly handwrite your activity. Title your activity.
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Performance-Based
Assessment
Name
Class
Date
PERFORMANCE-BASED ASSESSMENT CHAPTER 3
Scoring Criteria for “Create a Mise-en-Scene Activity”
Teacher Page
Use the scoring criteria on this page to assess student work. Some teachers may wish to duplicate this sheet to
distribute to students as an explanation of how their projects will be graded.
“Create a Mise-en-Scène Activity” presents students with two challenges: first, to identify the compositional
elements within three different frames (or movie stills); and second, to thoughtfully interpret those images, noting
how compositional elements work together to create meaning. Assess student work on a holistic 3-point scale to
give full or partial credit on each of these two levels. Maximum score overall = 6 points.
Criteria for Identifying Elements of
Composition
Criteria for Analyzing Elements of
Composition
Does the student understand elements of composition, specifically camera distances, camera angles,
lighting, and visual design? Is the student able to
identify the point of emphasis and/or cinematic point
of view within a frame?
Does the student understand how compositional
elements work together to create meaning? Does
the student express himself/herself clearly using
film terminology?
3 points: Accomplished
The student’s answer key is written clearly and
concisely and illustrates a thoughtful understanding
of how cinematic elements work together to create
meaning.
3 points: Accomplished
The student’s work demonstrates an understanding
of cinematic composition, including camera angles
and distance, lighting, and overall visual design, correctly identifying those elements within the selected
frames. The images from the selected scene are in
proper sequence. The project covers multiple compositional elements.
2 points: Satisfactory
The student’s answer key is mostly accurate and
written clearly, but some answers are not as developed as they might be. The student has a basic
understanding of most cinematic elements.
2 points: Satisfactory
The student’s work shows an understanding of some
elements of cinematic composition. The student has
correctly identified type of shots, lighting, and visual
design in some but not all of the frames. Some but
not all of the frames are in the proper sequence. The
project covers only a few compositional elements.
1 point: Unsatisfactory
The student’s answer key has one or two correct
explanations, but primarily the information presented
is inaccurate or difficult to understand.
1 point: Unsatisfactory
The student’s work lacks understanding of cinematic
composition. Different types of shots, lighting, and
visual design are not shown in the selected images.
The activity is incomplete, with missing images or
questions. The project focuses on just one compositional element.
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Performance-Based
Assessment
Name
Class
Date
PERFORMANCE-BASED ASSESSMENT CHAPTER 4
Present an Oral Report on Film Depictions of the 1950s
Student Activity Sheet
The following activity tests your understanding of film as a social and historical document. You will research and
present an oral report focusing on the depictions of scientists or women in films from the 1950s. The goals of this
activity are to challenge your research skills, and challenge you to think critically about the ways in which film
both mirrors and influences society.
Materials
DVD player or VCR and access to films of the 1950s
Access to old newspapers and magazines, either through library collections or through Internet Web sites
Optional: A tape-recording machine or CD player
Method
Step One: Research your subject. Choose as the subject of your oral report depictions of either scientists or women.
Review Watch the Skies!, the documentary film presented in this chapter as a starting point for your research. This
film provides insight and images about America in the 1950s and the sort of science fiction films people watched.
However, you need not limit your report to depictions in science fiction films. You may review films from other
genres as well.
Your research will include identifying films that featured scientists or women in leading or supporting roles, as well
as identifying key social issues and trends of the 1950s. To help you locate and identify the best films for your
report, you may wish to consult the following film resources:
Filmsite.org’s lists of the 100 Greatest Films: www.filmsite.org/films.html.
The Academy of Motion Pictures Arts and Sciences: www.oscars.org/awardsdatabase/index.html.
This page allows you to search for nominees throughout the academy’s history.
To help you better understand life during the 1950s, consult with print resources in your library, such as the
Readers’ Guide to Periodical Literature to locate newspaper or magazine articles on cultural trends and historical
events. You may wish to consider the following online sources as well:
Kingwood College Library’s American Cultural History 1950–1959 Web page:
http://kclibrary.lonestar.edu/decade50.html. This site provides links to other sites relating to social and
cultural history of America in the 1950s.
National Women’s History Project Web page: www.nwhp.org/whm/history.php. This site provides
resources and links for learning more about women’s history and popular culture.
Step Two: Narrow your research. Select two or three films from which to draw information for your report.
The films you choose should feature scientists or women in a leading or supporting role. As you review these films,
make a list of questions about the film’s portrayal of your subject, such as:
Does this film represent scientists or women in a positive, negative, or neutral way? How do you know?
How does the cinematic composition help to create the depiction?
Are the scientists or women portrayed as the heroes or the villains in these films?
Are the women portrayed as independent problem-solvers or as dependent on others to solve their
problems for them?
What is realistic, in terms of 1950s society, about the depiction of scientists or women in these films?
In other words, do these films mirror society the way it actually was in the 1950s?
Keep source notes on all information you obtain from newspapers, magazines and books, as well as Web addresses.
You will need to cite those sources if requested by your teache
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Performance-Based
Assessment
Name
Class
Date
Present an Oral Report on Film Depictions of the 1950s (Cont.)
Step Three: Outline your presentation. First, identify at least three key points you can make about how the films
you chose portrayed your subject. Second, support those key points with specific evidence taken from newspapers,
magazines, or books. You will also want to provide evidence of the film depiction, such as movie images or advertisements, lines of dialogue, etc. If necessary, review the materials presented in chapter 4, specifically in lesson 1
and Graphic Organizer 4-2, to help you better understand how filmmakers create depictions.
Your oral presentation will have three parts:
An introduction that engages the audience, gets their attention and holds it. Consider beginning with
an image, an interesting statistic, or an anecdote.
A body of evidence to support each of your key points.
A conclusion that restates your key points and/or draws conclusions about film depictions.
Step Four: Get creative with visual and audio aids! Your oral report should be entertaining as well as informative.
Once you have the necessary information, think of ways to make your report visually exciting. Visual aids, such as
movie stills or collages, can grab the audience’s attention. Audio materials, such as music and soundtracks or radio
broadcast recordings, can add liveliness to your report while at the same time providing a different type of listening
experience for your audience.
Step Five: Prepare and practice your oral presentation. An oral presentation is much different than a written research
report. A research report is written to be read. An oral presentation, on the other hand, involves speaking to an
audience; it is meant to be heard, not read. Very often the speaker interacts with the audience during a questionand-answer session. In writing your oral presentation, therefore, keep the following tips in mind:
Write your presentation on note cards rather than in a multiple-page report.
Refer to your note cards but do not read from them. Be sure to look at the audience and interact
with them.
Keep your sentences short and simple so that listeners can follow your key points easily.
Use visual and audio aids when appropriate to maintain interest.
Do not speak too quickly or too slowly. Words mumbled or hurried can confuse an audience.
Words spoken too slowly or in a monotone can put an audience to sleep!
Practice your report, but do not memorize it. Practice means giving the presentation to yourself or
perhaps a friend or family member so that you are comfortable with the content and the length of the
report. Practice will make it less likely that you’ll stumble over words or forget what comes next.
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Performance-Based
Assessment
Name
Class
Date
PERFORMANCE-BASED ASSESSMENT CHAPTER 4
Scoring Criteria for “Present an Oral Report on Film Depictions of the 1950s”
Teacher Page
Use the scoring criteria on this page to assess student work. Some teachers may wish to duplicate this sheet to distribute to students as an explanation of how their projects will be graded.
“Present an Oral Report on Film Depictions of the 1950s” presents students with two challenges: first, to identify
and interpret film depiction; second, to present to an audience the key research findings in a logical and creative
way. Assess student work on a holistic 3-point scale so as to give full or partial credit on each of these two levels.
Maximum score overall = 6 points.
Criteria for Identifying and Interpreting
Depictions
Criteria for Oral Presentation
Is the presentation given in a lively and creative way?
Does the student include interesting audio and/or
visual aids to enhance key points? Does vocal expression and body language contribute to or distract
from the presentation?
Does the presentation demonstrate the student’s
understanding of film depictions? To what extent
does the student link film depictions with real social
and/or historical issues of the decade? Are sources
provided for all researched information?
3 points: Accomplished
The student’s presentation is thoughtful and informative. The student engages the audiences and maintains interest throughout the presentation. The use
of audio and/or visual aids is likewise creative, providing additional information beyond the spoken
text. The student speaks loudly and clearly without
rushing or hesitating. The student relies on note
cards and maintains eye contact with the audience.
Overall, the student’s body language is relaxed.
3 points: Accomplished
The student demonstrates an understanding of film
depictions and ways in which filmmakers create
them. The student expresses a relationship between
social and/or historical issues of the 1950s and film
depictions. The films and specific details chosen
are relevant to those issues. The presentation is complete, providing an introduction, a body of evidence,
and a conclusion. The student supports his/her key
points with interesting and compelling evidence,
documented by reliable sources.
2 points: Satisfactory
The student demonstrates an understanding of
what film depictions are, but his/her understanding
of how filmmakers create those depictions is not as
clearly stated. The films selected are mostly relevant
to social issues of the 1950s, although one or two
examples do not clearly support the student’s key
points. The presentation includes two of the three
required elements: introduction, body of evidence,
conclusion. Sources are provided to support key
points.
2 points: Satisfactory
The student’s presentation is informative but not
necessarily creative or original. The student mostly
engages the audience’s interest and maintains attention. The use of audio and/or visual aids reinforces
key points, although some aids may be distracting
or not as relevant. The student’s vocal expression is
at times too soft or too loud. He/she speaks clearly
but at times stumbles or seems uncomfortable or
fidgety. The student relies a bit too much on his/her
note cards.
1 point: Unsatisfactory
The student lacks an understanding of film depictions and ways in which filmmakers create them.
The presentation focuses solely on the film depictions and states no relationship to social issues of
the times. The presentation lacks one or more of
the three required elements: introduction, body of
evidence, or conclusion. Source listings are incomplete
or missing.
1 point: Unsatisfactory
The presentation is undeveloped and seems unpracticed. The student primarily reads from note cards or
a written report and does not engage the audience
with audio and/or visual aids. Eye contact is minimal. The student’s voice is hard to hear. The student
seems stiff or uncomfortable and/or gestures unnecessarily, so that body language is distracting to
the audience.
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©2009, The Film Foundation. All rights reserved.
A
B
C
NATIONAL FILM STUDY STANDARDS
161
National Film Study Standards For Middle School
Overview
At the heart of The Story of Movies curriculum are National Film Study Standards developed by The Film Foundation.
The goal of the standards is to guide teachers and educational administrators in helping students in grades 6–8
develop literacy in moving images. The core academic-content standards have five thematic strands:
1.0 Film Language. Students learn to read and interpret visual text by developing a film vocabulary,
identifying editing techniques, and analyzing film elements within selected scenes.
2.0 Historical and Cultural Contexts. Students understand that a film is both a historical/social document
and a cultural artifact. Students analyze social issues presented in film and form conclusions about the
ways in which film influences and is influenced by the society in which it is produced.
3.0 Production and Creative Expression. Students understand that film is an expression of a director’s
personal vision produced through a collaborative process. Students understand and distinguish the
various filmmaking roles that contribute to the final work of art.
4.0 Viewers’ Response and Aesthetic Valuing. Students understand that a film is a work of art. Students
describe, interpret, and analyze a film’s visual design. They respond to and make informed judgments
about film, deriving personal meaning from the work. They express their viewpoints through oral and/or
written presentations.
5.0 Cross-Curricular Connections. Students first tap their knowledge of other disciplines to study a film.
They then apply what they have learned about film to other disciplines, making connections between film
and literature/language arts, film and history/social studies, film and other arts, and film and sciences.
Outcome Levels
The National Film Study Standards emphasize depth of knowledge rather than mere exposure to film clips. The
curriculum program features three feature films for in-depth study over a period of four to six weeks each. These
films are To Kill a Mockingbird (1962, directed by Robert Mulligan), Mr. Smith Goes to Washington (1939, directed by
Frank Capra), and The Day the Earth Stood Still (1951, directed by Robert Wise). Each film focuses on significantly
different subject matters — American government and media, war and the development of atomic weapons, and civil
rights and family values. The study units are applicable across all three grades, rather than being grade-specific. To
encourage flexibility in the classroom and to allow teachers to adapt materials to grade levels and student abilities,
the content and outcomes described in these national standards are grouped into three competency levels:
•
•
•
Level I = Basic
Level II = Intermediate
Level III = Advanced
The lessons and activities for each of the three film units bridge these three levels. However, some learning outcomes
are film-specific. Examples include the following: Propaganda in moving images is taught only in the unit for Mr. Smith
Goes to Washington; characteristics of the science fiction film genre is taught only in the unit for The Day the Earth Stood
Still; voice-over narration is a film-language term taught only in the unit for To Kill a Mockingbird. Nevertheless,
teachers who complete the entire Story of Movies program for middle school over one to three years will touch upon
all learning outcomes on all three levels.
Why Develop National Film Study Standards?
With the passage of Goals 2000: Educate America Act, the national education-reform legislation that includes
development of world-class standards, the arts have been recognized by Congress for the first time as a fundamental
academic subject. Film is a uniquely collaborative art form. Establishing national standards for film study provides an
outline of what children should know and be able to accomplish. The standards establish a foundation for study of
moving images throughout middle school.
144
162
1.0 Film Language
Content Standard
I:
II = Intermediate
III = Advanced)
Students explain what is meant by frame, shot, scene, composition, key
lighting, visible and invisible sounds.
II: Students identify high-angle and low-angle shots, distinguish shots of
varying camera distances, identify basic camera movements, identify
high-key and low-key lighting.
III: Students understand what is meant by contrast, depth, and texture;
distinguish between objective and subjective point-of-view (POV) shots;
describe three principles of lighting a frame — direction, intensity, and
quality; identify elements of sound layering.
1.2 — Understanding film
content
I:
Students identify basic story elements found in all film narratives, including
character, setting, conflict, rising action, conflict resolution, and theme.
II: Students identify characteristics of film genres, specifically film drama and
science fiction film; identify the cause-and-effect events that lead to a story’s
climax; identify flashback and foreshadowing in stories told visually.
III. Students explain both internal and external conflicts as expressed in a film;
identify scenes that reveal parallel story lines.
1.3 — Understanding a
film’s narrative structure
I:
Students describe the purpose of each of the three acts in a film’s
narrative structure.
II: Students describe the inciting incident in act 1; identifying rising action
in act 2; identify falling action in act 3.
III: Students identify shots and scenes that reveal expository information;
explain the connection between the inciting incident and the climax;
explain how voice-over narration reveals expository details and serves
as a unifying element in all three acts.
1.4 — Identifying editing
techniques
I:
Students explain the difference between real time and reel time; identify
scene transitions, including cut, dissolve, and fade.
II: Students explain what is meant by montage; explain how juxtaposition of
images in a sequence creates meaning and affects reel time.
III: Students explain what is meant by continuity and pacing and understand
how continuity and pacing can both compress and expand time in a film.
1.5 — Analyzing elements
of film composition
I:
Students describe how the arrangement of elements within a single frame
suggests meaning; describe how image and sound work together to create
meaning.
II: Students understand the principle of thirds in composition; identify visual
and sound symbols used by a filmmaker to suggest meaning; describe how
lighting and music contribute to the emotional tone of a shot or scene.
III: Students analyze how the use of light and shadow suggest meaning;
distinguish between explicit and implicit information; interpret film elements
in the composition of a single scene to derive meaning from the scene.
163
145
National Film Study
Standards
1.1 — Developing a film
vocabulary
Outcomes by Level (I = Basic
2.0 Historical and Cultural Contexts
Content Standard
2.1 — Connecting film to
history and culture
Outcomes by Level (I = Basic
I:
II = Intermediate
III = Advanced)
Students identify the period in which a film is made and the period in
which a film is set; explain the difference between history and culture;
understand why a film is a cultural and not a historical document.
II: Students distinguish between historical and cultural documents relative to
a film’s story, setting and theme; view and interpret cultural documents
relative to a film’s distribution, including a movie trailer and a movie
review.
III: Students analyze promotional techniques and materials for a film during
the period in which the film was made; analyze critical reviews or public
opinion about the film at the time it was released in theaters, comparing
those viewpoints to present-day reviews.
2.2 — Identifying and
interpreting film
depictions
I:
Students explain what a film depiction is.
II: Students interpret depictions of race, gender, and social class in a film and
determine whether the depiction is positive, negative, or neutral.
III: Students explain the techniques that filmmakers use to create depictions.
2.3 — Identifying and
interpreting social issues
and historical events as
presented in film
I:
2.4 — Identifying
characteristics of a film
documentary
I:
Students identify social issues or historical events presented in a film.
II: Students describe how a film presents social issues or historical events.
III: Students analyze social, political, economic, and other factors; make
conclusions about how society influences and is influenced by film.
Students describe the difference between a documentary film and a feature
film.
II: Students understand that a documentary is a representation of reality using
moving images.
III: Students research moving images for use in developing a topic for a
documentary film.
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164
3.0 Production and Creative Expression
Content Standard
I:
II = Intermediate
III = Advanced)
Students describe what happens in each of the three stages of making a
film — pre-production, production, and post-production; understand what
a screenplay is; explain what is meant by directing, screenwriting, production
design, cinematography, acting, film editing, and music composition.
II: Students describe the director’s role in each stage of production.
III: Students understand what is meant by the director’s vision and the
collaborative process.
3.2 — Identifying creative
and /or technical skills in
the filmmaking process
I:
Students identify the various professionals and craftspeople that collaborate
to make a film.
II: Students explain the tasks of the director, screenwriter, production
designer, cinematographer, actors, film editor, and composer in making
a film.
III: Students understand how the various filmmaking roles work together to
create a single film.
3.3 — Analyzing a film’s
visual design
I:
Students explain what is meant by a film’s “look,” or visual design
and style.
II: Students identify elements that contribute to a film’s visual design,
including set design and construction, props, location, costuming,
and make-up; explain how lighting and editing contribute to the film’s
visual design.
III: Students evaluate and comment on the choices made by the director,
production designer, and cinematographer in creating a film’s visual design.
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147
National Film Study
Standards
3.1 — Understanding the
filmmaking process
Outcomes by Level (I = Basic
4.0 Viewers’ Response and Aesthetic Valuing
Content Standard
4.1 — Understanding our
film heritage
Outcomes by Level (I = Basic
I:
II = Intermediate
III = Advanced)
Students explain what film preservation is; understand the purpose of the
National Film Registry.
II: Students distinguish between film preservation and film restoration;
identify qualities that make a film eligible for the National Film Registry.
III: Students evaluate and nominate films to the National Film Registry.
4.2 — Deriving personal
meaning from film
I:
Students express an opinion about the film, using film language and
supportive details and references to specific scenes or elements.
II: Students understand that each person interprets and reacts emotionally and
intellectually to a film in a different way.
III: Students analyze how the film did or did not have personal relevance,
citing specific examples from the film.
4.3 — Assessing the
merits of film as a work
of art
I:
Students explain characteristics that make a film a work of art.
II: Students identify and explain qualities of the film that make it a success
or a failure, given the filmmaker’s intended theme and audience; create a
step-by-step process for others to follow in critiquing a film.
III: Students analyze how the film did or did not have personal relevance,
citing specific examples from the film; understand the purpose and process
of writing a film critique; write and present a film critique.
148
166
5.0 Cross-Curricular Connections
Content Standard
I:
II = Intermediate
III = Advanced)
Students identify common terms in film study with other subject areas
(e.g., characterization, symbolism, composition, depiction, etc.); use visuals
to communicate ideas in other subject areas.
II: Students apply knowledge of film content and narrative structure to writing
personal narratives; apply knowledge of film depictions to analyzing
political cartoons in social studies; use visual symbols and elements of
composition to depict the history and cultures of other civilizations.
III: Students communicate ideas for written and oral presentations using
moving images or elements of film composition; work collaboratively
with others in problem-solving projects; study a social issue and research
archival film to create a multimedia presentation that reflects that time
and culture.
5.2 — Identifying
professional filmmaking
skills and roles
I:
Students identify filmmaking roles.
II: Students identify the skills needed for various filmmaking roles, such as
director, screenwriter, production designer, costume designer,
cinematographer, actor, film editor, and composer.
III: Students research two or more works of specific filmmakers and analyze
how their training and experiences influenced their work.
167
149
National Film Study
Standards
5.1 — Understanding
relationships between film
and the other arts and
disciplines outside the arts
Outcomes by Level (I = Basic
Glossary
Glossary Of Key Terms
168
Glossary Of Key Terms
A
acting—the performance of an actor
action/adventure—a type of film that features a strong hero and/or heroine who struggles against incredible odds to
defeat an enemy
actuality film—a movie that records real people doing real things
aspect ratio—a cinematic term that describes the proportions of a movie screen’s measurements. A standard screen
has a 4:3 aspect ratio or, more precisely, 1.33:1. A wide screen has an aspect ratio of 1.85:1.
B
background—the part of a picture or scene which appears to be in the distance
backlighting—a type of lighting in which the light source is placed behind the subject and used to minimize
shadows or, if bright enough, to create silhouettes
backlot—an outdoor space on movie studio acreage that can be transformed into exterior sets for a movie
balance—the visual weight of objects within a frame. Symmetrical balance is when objects of approximate equal size
appear on both sides of the frame. Asymmetrical balance is when one side is more heavily weighted.
biography—a film which presents the life story of a real person
blueprint—a technical drawing with white lines printed on a blue background, showing plans for construction of a
building or object
body language—gestures, physical movements or postures that express or suggest emotions or states of mind
C
character type—a person with certain typical qualities or behaviors portrayed in film, based on the actor’s public
persona, appearance, previous roles, or reputation
chaser—a short, silent film shown in vaudeville theaters as audiences were exiting (see vaudeville)
cinematic conventions—techniques or devices a filmmaker uses when creating a film, including shots, camera
angles, and lighting (also called cinematic devices and cinematic techniques)
cinematic point of view—a way of seeing a film’s action based on the position of the camera
cinematographer—the person who oversees all camerawork on the set
cinematography—a film language that communicates ideas, emotions, and relationships to the audience through
the use of movement, light, and shadows
climax—the point at which a story’s conflict reaches its maximum tension; also called the turning point. In a film,
the climax usually occurs at the end of act 2.
close-up—a type of shot in which the camera is close to the subject; generally used by filmmakers to create emphasis
color—the light an object reflects, which is perceived as red, blue, green, or other hues; one of the building blocks
of visual design
color palette—an array or selection of colors. A color palette for a scene in a film might include, for example, colors
in the gray-to-taupe range or in the yellow-to-golden range.
comedy—a type of film intended to make audiences laugh and feel good
composition—the arrangement of elements, including people and objects, within the boundaries of a frame
continuity—the maintaining of consistency from shot to shot and from scene to scene in a film, even when scenes
are shot out of sequence
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Glossary
The following are terms introduced in lessons throughout the Teacher’s Guide and are key
to understanding the language of film.
contrast—the difference between light and dark areas
costumes—clothes worn to make an actor look like a particular character or object
crime/detective—a type of film that focuses on the struggle between a criminal and his or her victims and/or the
solving of a crime
cultural document—a piece of writing or a work of art providing insight into a society’s values and beliefs.
Examples include poetry, novels, movies and photographs.
cut— a particular shot, or part of a shot, selected to use when assembling a film; also, the point at which one shot
or scene ends and another begins
D
depiction—a representation or description using pictures or words
depth—the distance or measurement of something, either from front to back or top to bottom. In cinematography,
depth is the perception of this distance.
dialogue—words written in a script or spoken between actors in a film
director—the person who has the greatest understanding of how the final film will appear. The director works in
collaboration with other artists and craftspeople to make the script come alive on the screen.
director’s vision—how the director imagines the final film will look and sound. This vision drives all stages of
production, from casting to cinematography, from set design to the final editing of the film.
dissolve—a type of transition between shots, in which one image slowly fades out, or disappears, while another
image gradually fades in, or appears
documentary—a nonfiction film that portrays real people and events in an accurate way. Documentary films,
however, may still reflect the viewpoint or bias of the filmmaker.
dolly—a type of platform with wheels on which a camera is mounted and which allows the camera and camera
operator to move around and through the set; a type of shot using such a moving platform
drama—a type of film that realistically portrays life situations and characters. The subject matter for a drama may
include social problems such as alcoholism and drug addiction, race relations, politics, poverty, personal relationships, etc.
E
establishing shot—a type of shot in which the camera is far from the subject to show the audience a great deal of
visual information. Filmmakers often use establishing shots to reveal setting. See also long shot.
explicit information—information that is obviously or directly stated rather than implied or suggested
exposition—information about a person, place or thing, necessary for the audience’s understanding of characters
and their motivations
extreme close-up—a type of shot in which the camera is very close to the subject, focusing on a single element,
such as a character’s eyes or lips or a spider on a web
eye-level shot—a type of shot in which the camera position is straight across from the subject being filmed
F
fade in—to gradually appear on the screen; a type of transition in which an image gradually appears from a
black screen
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Glossary
crane—a boom or a mechanical arm that can move through the air and on which the camera is mounted to film
the subject below; a type of shot using such a moving boom
fade out—to slowly disappear from the screen; a type of transition in which an image slowly disappears into a
black screen
fantasy—a type of film that focuses on imagined or mythological places and characters. Fairy tales, dreams, and
magic are some of the elements which might be found in a fantasy film.
film concept—a concise statement of what a proposed film is about
film editing—the process of assembling shots into scenes and scenes into the final film
film editor—the person who, working with the director, selects which shots to use, and then pieces together the
final film
film sequence—a series of shots or scenes that follow one after the other
film’s “look”—a film’s visual design. Many factors determine a film’s look, including lighting, set design,
and costuming.
final film—the final version of a film as assembled by the director and the film editor
fixed camera—a camera on a base that remains stationary, or in one position
forced perspective—a cinematic technique that uses optical illusion to make an object appear closer, larger, or
smaller than it actually is
foreground—the part of a picture or scene that appears to be nearest the camera lens and, therefore, the viewer
foreground framing—a visual effect created by enclosing, or boxing, a subject in the background or middle
ground with an object or objects in the foreground. This technique creates a three-dimensional effect, especially
when the foreground elements are in sharp focus.
frame—a single photograph on a strip of film; also called a still
front lighting—a lighting effect in which the subject is illuminated by a light source placed in front of the subject
G
genre—a category of films based on common characteristics such as subject matter, style, narrative structure,
established conventions or filmmaking techniques
H
high-angle shot—a type of shot in which the camera is above the subject. The effect is to make the subject appear
smaller and/or vulnerable.
high-key lighting—a lighting effect in which the set is brightly lit, resulting in more visual detail being illuminated.
Filmmakers often use high-key lighting to suggest an upbeat, cheerful mood or atmosphere.
historical document—a piece of writing, a photograph, or other object that provides information about a past event
horror—a type of film that focuses on death or grisly details, intended to frighten or cause dread in an audience
I
implicit information—information that is suggested or implied rather than stated directly
inciting incident—an event that occurs early in the story and results in a conflict for the main character or characters
inflection—a change in one’s tone of voice
invisible sounds—sound effects on a film’s soundtrack in which the action associated with the sound occurs offscreen, such as traffic noise heard while characters are seen sitting inside a room
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Glossary
falling action—all events that follow the climax and lead to the resolution of the conflicts in a story. In a film,
the falling action typically occurs in act 3.
J
K
key lighting—the principal or primary light in a shot. High-key lighting results in more areas of brightness; low-key
lighting creates shadows and less brightness.
L
light intensity—how much light the cinematographer allows in a frame or shot
line—a basic building block of visual design. Lines can be either straight or curved.
literary conventions—techniques writers use when creating works of art, such as flashbacks or foreshadowing
location—a site or place away from the studio where a scene for a movie is filmed; often referred to as on location
long shot—a type of shot in which the camera is placed some distance from the subject. See also establishing shot.
low-angle shot—a type of shot in which the camera’s position is below the subject. The effect is to make the
subject appear larger or to suggest the subject’s power or authority.
low-key lighting—a lighting effect in which the set is dimly but carefully lit, resulting in shadows and high
contrast. Filmmakers often use low-key lighting to suggest a mysterious or secretive mood or atmosphere.
M
medium shot—a type of shot in which the camera focuses on a person from about the waist up
middle ground—the part of a picture that is between the foreground and background
mise-en-scène—a French term meaning “putting into the scene.” In film analysis, mise-en-scène discussions
include the composition of a frame and the use of lighting, color, set design, camera distances and angles,
costumes, and movement.
mobile camera—a camera mounted on a movable platform, such as a dolly or a crane, so that the camera operator
can move the camera around the set
montage—a series of shots placed one after the other to create meaning. Often the shots are unrelated literally, but
when juxtaposed, they create symbolic associations and, thereby, figurative meaning.
movie review—an evaluation or appraisal of a film. Movie reviews typically include two elements—a brief synopsis
of the story content, and commentary on the quality of the film.
movie trailer—an advertisement for a film, usually shown in movie theaters or on television
music composer—the musician who writes the music score for a movie and sometimes conducts the musicians
who perform the score
music director—a filmmaker whose responsibility is to oversee the creation and use of all music in a movie.
The music director also sometimes arranges or composes original music for the film.
music score—the music that accompanies the action on the screen
musical—a type of film that uses song and dance routines as a way to elaborate on a storyline. Rather than simply
adding music to the soundtrack, the characters within the film sing and dance.
N
narrative hook—that part of the plot that first captures the viewer’s attention, usually through the introduction of
an initial conflict or unusual setting or occurrence
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Glossary
juxtaposition of images—the placement of images one after the other to suggest meaning or the passage of time
narrative structure—the way a filmmaker tells a story, usually using the 3-act formula
nickelodeon—an early type of moving-picture machine, operated by coin, or an early motion-picture theater that
charged five cents admission
O
objective point of view—a viewpoint in which the camera is positioned so that the audience views the action on
the screen as if a spectator
on location—See location.
opening credits—information on screen before the film’s story begins, identifying the people who collaborated in
making the film, including the director, cinematographer, principal actors, and other key members of the filmmaking team
P
pacing—the overall rhythm of a scene or sequence
pan—a side-to-side type of camera movement
pan and scan—a technique that electronically stretches, reduces or crops a film’s shots to fit a different size screen,
distorting the original image
perspective—a technique for representing three-dimensional space on a flat surface
pitch—the highness or lowness of a sound
point of emphasis—the focal point or center of interest in a frame
point of view (POV)—in film, how the camera is positioned, which determines how the audience will see the
action. Point of view can be objective or subjective.
post-production—a stage in the filmmaking process in which the film editor, working with the director, assembles
the shots into scenes, and the scenes into a final film. Also during post-production, the soundtrack is assembled,
and special effects may be added.
pre-production—a stage in the filmmaking process in which the director plans the scenes, casts the actors, and
works in collaboration with other filmmakers to decide the film’s overall look, including its cinematography and
production design
preservation—steps taken to slow the deterioration of film. This includes storage in refrigerated facilities and some
times copying damaged film onto new, safer film stock.
primary source document—a first-hand account of an event; a piece of writing or some other source of information created during the period in which an event occurred
process shot—a filmmaking technique in which action is shot in front of a screen on which images of another
scene are projected. In the final product, the two scenes appear to actually be one.
production—a stage in the filmmaking process in which the director and cinematographer shoot the film
production design—a step in the filmmaking process that includes planning and constructing sets, scenery,
locations, and props for a movie. Production design also includes planning costumes and makeup for the actors.
production designer—the person who plans and oversees all aspects of production design, including sets
and costumes
propaganda—publicity or public statements created by an organization or a group to promote an idea or cause and
to tell people what to think
proportion—the size or shape of something. In frames of film, as in paintings and photographs, proportion results
when the sizes and shapes of elements within the composition are arranged harmoniously.
props—objects, or property, required for scenes in a movie
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Glossary
National Film Registry—a list of films selected for preservation by the U.S. Library of Congress, based on the
cultural, historical, or aesthetic significance of each film
R
reaction shot—a type of shot that emphasizes dramatic impact. Reaction shots focus on a character and record his
or her surprise or lack of surprise, fear or lack of fear, etc.
real time—actual time. Compare to reel time.
rear projection—a type of process photography in which a previously shot film segment is projected onto a screen
from behind while actors are filmed performing in front of the screen
reel time—compressed or expanded time in films, created through montages and scene transitions. Compare to
real time.
resolution—the part of the falling action in which the conflict is resolved or an answer is found. In a film, the
resolution occurs in act 3.
rising action—cause-and-effect events that follow the setup and lead to a climax, or turning point. In a film, rising
action occurs in act 2.
rough cut—a compilation of a film’s scenes from start to finish, but not the final version. The film editor creates the
rough cut in the studio from raw footage.
S
scene—the time and place where an event or action occurs; also, a segment of a film that takes place in one time
and place
scenery—the created background or the landscape in a film
scene transition—a technique created in post-production to move from one scene to another, such as a cut, wipe,
dissolve, or fade-out/fade-in
science fiction—a type of film that explores the impact of science, either real or imagined, on humans and their
world. Science fiction may also focus on human contact with other worlds.
screenwriter—the person who writes the film script, often working closely with the director
script—the printed text of a film, including the dialogue and some basic technical directions
sequence—See film sequence.
set—the place where a scene in a film is shot, or the constructed scenery for a film
shape—a square, rectangle, triangle, circle, or other form made of joined lines
shot—a segment of film between cuts and transitions
side lighting—a lighting effect in which the light source is placed to one side of the subject
sound editing—assembling dialogue and sound effects, including both visible and invisible sounds, for the
final film
sound editor—a person who is responsible for some aspect of a film’s soundtrack, such as sound effects or dialogue
sound effects—recordings or imitations of sounds in a film. Along with music and dialogue, sound effects comprise
one of the elements of a film’s soundtrack.
soundtrack—the recorded sound effects, dialogue, and music in a film
space—the area between and around objects; one of the building blocks of visual design
splice—a connection between two pieces of film, made during the editing process
standard screen—a film screen with a measurement proportion—or an aspect ratio—of 1.33:1. See also aspect ratio
and wide-screen.
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Glossary
raw footage—all the shots filmed for a movie. From raw footage, the director and film editor select the best shots to
use in assembling the final film.
subjective point of view—a viewpoint in which the camera is positioned so that the action is seen as if
through the eyes of one of the characters in the film
T
texture—the quality of a surface that can be felt or seen; one of the building blocks of visual design
theme—the main idea of a work of art
theremin—a type of electronic musical instrument, which a person plays by altering the amount of space between
two antennas
tilt—an up-and-down type of camera movement, e.g., the camera tilts up and down to follow a child jumping on
a trampoline
track—a railway that allows a camera on a platform to move at various speeds when photographing a subject; a
tracking shot is a type of shot using a camera on such a railway
transition—See scene transition.
U
under lighting—a lighting effect in which the light source is below the subject, casting shadows upon it
V
vaudeville—a type of entertainment popular in the 19th and early 20th century. A vaudeville show usually featured ten
acts which might range from musical performances and comedy routines to unusual feats like fire-eating.
visible sounds—sound effects on a film’s soundtrack which can be seen occurring, such as a door slamming shut as a
character is seen leaving a room
voice-over narration—a voice off-screen that provides background information about characters or the film’s setting.
Voice-over narration can also be a device for filling in gaps between scenes to ensure continuity.
W
war movie—a type of film that focuses on physical battles or the mental conflicts of soldiers and others involved
in war
western—a type of film that focuses on a struggle between civilization and wilderness, lawfulness and lawlessness.
Most traditional westerns are set during the mid- to late 19th century in the American West or Southwest.
wide-screen—a screen size that is wider than the standard screen size ratio of 1.33:1. See also aspect ratio.
wipe—a type of transition in which a vertical line moves across the screen, replacing one image with another
Z
zoom—a forward or backward type of camera movement that enlarges (zoom in) or makes smaller (zoom out) the
subject on the screen for emphasis; to move in such a way
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Glossary
supporting role—a minor part in a film but one that contributes to the overall plot development