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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 Web site, www.storyofmovies.org.
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Name
Class
Date
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.
____ A struggle or difficult decision a character experiences
a.
2.
____ Background information about the characters or the setting of the story
presented in act 1
b. conflict
3.
____ An event that occurs early in the story and sets in motion the action that
will follow
4.
____ The cause-and-effect events that build tension and suspense for the
characters during act 2
5.
____ What a movie is about
6.
____ In act 3, the final outcome of the events
7.
____ A part of a movie that identifies filmmakers who worked together to create
the movie
8.
____ The order in which a story unfolds on the screen
c.
rising action
narrative structure
d. resolution
e.
opening credits
f.
exposition
g.
story content
h. inciting incident
Part 2: The Film’s Content and Narrative Structure
Directions: Circle the correct answer.
9.
Which of the following is not a visual symbol from the opening credits of To Kill a Mockingbird?
a. a crayon drawing of a bird
b. a rolling marble
c. a school report card
d. a ticking pocket watch
10.
In the scene “Reading Together at Night,” Atticus listens as Scout reads aloud to him. This scene provides expository details about Atticus and Scout. Which of the following is not an expository detail presented in this scene?
a. Scout’s mother has died.
b. Atticus has a pocket watch given to him by his wife.
c. Scout believes that Boo Radley sometimes peeks through the window at her and Jem.
d. Atticus tells Scout that she must not fight with children at school, no matter what they may say
about him.
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11.
Which of the following is the inciting incident in the film To Kill a Mockingbird?
a. Atticus agrees to defend Tom Robinson.
b. Dill comes to Maycomb for the summer.
c. Boo Radley leaves toys and trinkets in the hollow of the tree.
d. The jury finds Tom Robinson guilty.
12.
Which of the following events is part of the falling action in To Kill a Mockingbird?
a. Mayella testifies at the trial of Tom Robinson.
b. Atticus visits the Robinson home at night, with Jem and Scout in the car.
c. Atticus shoots the mad dog.
d. The sheriff tells Atticus that Bob Ewell is dead.
13.
In act 3, Scout recognizes Boo Radley for the first time. Where is he?
a. in the woods between the school and the Finch house
b. in the shadows of his front yard
c. in Jem’s bedroom, hiding behind the door
d. sitting on the swing on the Finch porch
14.
Which of the following is not a conflict resolution in the film?
a. The sheriff will not arrest Boo Radley for the death of Bob Ewell.
b. Atticus will accept the blame for Bob Ewell’s death.
c. Jem will recover from his injuries.
d. Scout will never forget Boo Radley and how he saved her life and Jem’s.
15.
At various points in the film, the audience hears a woman’s voice providing details about Maycomb and the main
characters. The woman never appears on screen. What is this filmmaking technique called?
a. rising action
b. voice-over narration
c. visual symbolism
d. theme
16.
Which of the following is not one of the ways a filmmaker can create visual symbolism?
a. by repeating an image
b. by emphasizing a sound
c. by providing a long shot to show the story’s setting
d. by making an association between a person and an object
Part 3: Moving-Image Technology and Film Preservation
Directions: Use a complete sentence with specific details to answer each question that follows. Write your
answers in the spaces provided below.
17.
Identify and briefly explain two inventions or developments in moving-image technology during the past 100 years.
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18.
Name
What are two qualifications a film must meet in order to be nominated to the National Film Registry?
Class
Date
Chapter 1 Test: What Is a Movie?
19.
Describe two stages of film deterioration for one of the following: a. nitrate decay b. acetate decay
20.
What is the best way to slow the natural deterioration of film?
Part 4: Essay Question
21.
Write a paragraph answering this question: What is a movie? Include a brief explanation of how a movie differs
from other storytelling formats, such as the novel or short story. Provide specific details or examples to support
your answer. Use a separate sheet of paper to write your paragraph.
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Class
Date
Chapter 2 Test: The Filmmaking Process
Part 1: Identifying Filmmaking Roles
Directions: Match each definition below with the correct term by writing the letter in the space provided.
a.
the director
1.
____ Uses a variety of techniques to bring a character to life on the screen, including
tapping personal emotions and experiences
2.
____ Writes the musical score
3.
____ Uses light, camera angles, and camera distances to tell the movie’s story in images
4.
____ Has the most complete understanding of the film’s story, narrative structure,
and visual design
e.
the production designer
5.
____ Selects the best shots from raw footage to use in the final cut
f.
the film editor
6.
____ Adapts original ideas or previously published works into a screenplay for a
movie’s visual format
g.
the composer
7.
____ Creates the look of the movie’s fictional world
b. the screenwriter
c.
the cinematographer
d. the actor
Part 2: The Stages of Production
Directions: Circle the correct answer.
8.
The process of making a movie has three stages. They are
a. the director’s vision, production, and editing.
b. pre-production, production, and editing.
c. pre-production, production, and post-production.
d. story content, narrative structure, and visual design.
9.
The director’s vision is the
a. first stage in the filmmaking process.
b. picture the director has in his or her mind of how the final film will look.
c. visual symbolism he or she weaves into the movie.
d. theme of the movie.
10.
In the equation Director’s vision = story’s content + narrative structure + the film’s visual design, the visual design refers to
a. costumes worn by the actors.
b. storyboard drawings.
c. the film’s overall look.
d. the film’s overall message or theme.
11.
Which of the following is not a step in the process of adapting a story into a screenplay?
a. Read the story to be adapted.
b. Summarize each event in the story.
c. Decide which events to keep, which to exclude, and which to reinvent.
d. Create a storyboard drawing of each scene the screenwriter will include in the script.
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12.
Which of the following is not one of the tasks of the production designer?
a. working with the director to plan where to place the camera for each shot
b. making a list of props for all scenes
c. sketching set designs for all the scene locations
d. working with the costume designer to plan costumes, makeup, and hairstyles
13.
If cinematography is a language, then the cinematographer communicates through the use of
a. light and shadow.
b. colors.
c. movement.
d. all of the above.
14.
Storyboards provide information for the director and the cinematographer. This information may include
a. how close or far the camera is to the subject.
b. all dialogue written by the screenwriter.
c. when music begins or stops.
d. sound effects.
15.
Cinematographer Michael Chapman said “The cinematographer’s job is to tell people where to look.”
What did he mean?
a. Visual images are more important than sounds.
b. Visual images are more important than the screenwriter’s words.
c. The camera shows what the filmmaker wants the audience to see.
d. If you turned off the sound, the images would still tell the story.
16.
A reaction shot is one in which the camera focuses on
a. a single object, such as the medal in the hollow of the tree trunk.
b. the setting, so that the audience can see where the action is taking place.
c. a character’s emotional response.
d. none of the above.
17.
If a shot runs too long, the audience may become bored. If a shot happens too quickly, the audience may become
confused. This attention to timing when assembling shots into the final film is called
a. continuity.
b. pacing.
c. shot transitions.
d. rough cut.
18.
The musical score for a movie has two purposes — to suggest information to the audience about what may
happen, and to
a. trigger an emotional response in the audience.
b. compress real time into reel time.
c. tell the audience where to look.
d. keep the audience from getting bored.
19.
Composer Elmer Bernstein said Boo Radley was mysterious. As a result, when the children approach the Radley
house at night, the soundtrack includes
a.
music that is loud, harsh, and inharmonious.
music that is soft, slow, and suspenseful.
b.
music that is fast-paced and playful.
c.
d.
no music at all, just silence.
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Part 3: Essay Question
Name
20.
Class
Date
Director Martin Scorsese has said this about the filmmaking process: “To be a writer, you need a pen. To be a
painter, a brush. To be a musician, an instrument. But to be a filmmaker, you need the collaboration of others to
bring your vision to the canvas that is the movie screen.” Explain in your own words what Scorsese means.
Support your answer with an example or examples from one or more scenes from To Kill a Mockingbird.
Chapter 2 Test: The Filmmaking Process
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Name
Class
Date
Chapter 3 Test: Film Language and Elements of Style
Part 1: Key Terms
Directions: Match each definition below with the correct term by writing the letter in the space provided.
1.
____ The strength or volume of sound
a.
2.
____ The difference between light and dark areas
b. composition
3.
____ The arrangement of all the elements that contribute to the appearance of a
picture and help create meaning
c.
4.
____ The position of the camera so as to suggest a character’s viewpoint
5.
____ The harshness or softness of light used when photographing a film
6.
____ A single photograph on a strip of motion-picture film
7.
____ The illusion of distance suggested in a photograph
8.
____ The placement of the camera so that it looks down on the subject, making the
subject appear smaller
9.
____ An establishing shot that shows a subject in its surroundings
frame
high-angle shot
d. long shot
e.
light intensity
f.
quality of light
g.
contrast
h. depth
i.
dynamics
j.
subjective POV
10. ____ The amount of light used to control what the audience sees
k. dissolve
11. ____ The highness or lowness of sound
l.
12. ____ The object or person the cinematographer wants the audience to notice
13. ____ The quality of a sound or music, such as clanging or pinging, murmuring
or droning
14. ____ A series of shots assembled to follow one after the other so as to suggest
meaning or the passage of time
15. ____ A transitional device a film editor may use when assembling shots from
raw footage
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point of emphasis
m. montage
n. tone
o.
pitch
Part 2: Reading a Scene
To complete this section of the test, you will view a scene from To Kill a Mockingbird and record your
observations on the following Screening Sheet. This screening activity tests your critical-viewing skills
and your understanding of film language.
What You Will See: The action takes place outside the jail on the night before the trial of Tom Robinson.
Your teacher will play this scene twice, pausing the DVD between viewings so that you can complete the
answers on this screening activity.
Directions: The screening activity has 10 questions. You must answer at least 5 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 and explain what information the shot presents to the audience.
2.
Describe a close-up shot in this scene and explain the purpose of the shot.
3.
Describe a low-angle shot in this scene. What meaning might this angle suggest?
4.
Identify a high-angle shot in this scene. What meaning might this angle suggest?
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Lighting
Name
Class his book. Describe the lighting
Date in this shot
5. Observe closely the shot in which Atticus is sitting on the porch reading
and the information it reveals.
Chapter 3 Test: Film Language and Elements of Style
Movement
6. Select a shot that has either subject movement or camera movement. Identify who or what is in motion.
Point of View
7. Identify a subjective point-of-view shot. Explain how you can tell this is a subjective POV shot.
Sound
8. This scene has no music. Other than dialogue, what sounds do you hear? Is each one visible or invisible?
Editing
9. The film editor arranged the shots of Scout recognizing Mr. Cunningham to show Cunningham’s reaction and
Atticus’s reaction. Describe one or both of these reaction shots and the meaning suggested.
Think More About It
10. What is implicit in this scene? How is that information provided?
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Name
Class
Date
Chapter 4 Test: Historical and Cultural Contexts
Part 1: Key Terms
Directions: Match each definition below with the correct term by writing the letter in the space provided.
1.
____ A nonfiction film that portrays a real person or real event in an accurate way
a.
2.
____ A letter, diary, photograph, or film about an event, created by a person who
witnessed or participated in the event
b. culture
3.
____ A representation — positive, negative, or neutral — of a person, place, or thing
4.
____ All taken together, the forms of expression that show the way people in a
community or a society live
e.
genre
5.
____ The study of past events and people
f.
history
6.
____ A type or category of film, such as comedy, drama, horror, musical, or science
fiction, each of which has its own defining characteristics
g.
primary source document
7.
____ A type of essay or line of reasoning that expresses an opinion about a topic and
provides persuasive evidence to support that opinion
8.
____ A video advertisement for a film
c.
argument
depiction
d. documentary
h. trailer
Part 2: The Link Between Film and Society
Directions: Circle the correct answer.
9.
Which of the following details from the film help establish its historical setting?
a. Atticus has hired a woman to care for his children.
b. The children spy on the mysterious Radley house.
c. The courthouse is segregated.
d. All of the above.
10.
The time period in which a film is produced is not always the same as the time period in which a film is set.
In what time period was To Kill a Mockingbird set?
a. in the early 1960s, at a time when many Americans were protesting for civil rights for African Americans
b. in the late 1960s, after Congress had passed civil rights laws
c. during the 1930s, at a time when Jim Crow laws still existed in America
d. during the 1920s, before the Great Depression
11.
Which of the following is a cultural rather than a historical event?
a. Police arrest Rosa Parks in 1955 for refusing to give up her seat to a white person on a city bus in
Montgomery, Alabama.
b. Actor Gregory Peck wins an Academy Award in 1962 for his role as Atticus Finch.
c. Reverend Martin Luther King Jr. writes “Letter from Birmingham Jail” in 1963.
d. Between 1882 and 1968, 4,743 documented lynchings occurred in the United States.
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12.
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.
13.
What methods do the filmmakers use to depict Bob Ewell’s character as evil or sinister?
a. The actor playing Ewell uses threatening behavior, such as spitting in Atticus’s face.
b. The camera provides close-ups of Ewell scowling during the trial.
c. In the scene outside Tom Robinson’s home, the music that underscores Ewell’s sudden appearance is
loud, jarring, and dramatic.
d. all of the above
14.
The Motion Picture Association of America did not at first give To Kill a Mockingbird its certificate of approval. Why?
a. The association thought the film was too difficult for children to understand.
b. The association thought some language used by characters in the film was offensive and used more often
than was necessary.
c. The association thought the film depicted African Americans in a negative way.
d. all of the above
15.
Which of the following is not a characteristic of a film drama?
a. The film is based on primary source documents.
b. The film features realistic characters.
c. The film emphasizes internal conflicts, not just external conflicts.
d. The film focuses on a social or personal issue or concern.
Part 3: Civil Rights Issues in To Kill a Mockingbird
Directions: Use a complete sentence with specific details to answer the questions that follow. Write your
answers in the spaces provided below.
16.
Explain what is meant by the term Jim Crow laws.
17.
Provide two examples of a Jim Crow law that existed during the time period in which To Kill a Mockingbird was made.
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18.
Name
What is the message or argument Reverend King expresses in “Letter from Birmingham Jail”?
Class
Date
Chapter 4 Test: Historical and Cultural Contexts
19.
Explain why the short film The Letter is a documentary.
Part 4: Essay Question
20.
Write a paragraph answering this question: How does To Kill a Mockingbird depict African Americans — favorably
or unfavorably? Include in your response a statement answering the question, then support your statement with
specifics about the film’s composition or the visual-design techniques the filmmakers use. Your examples may focus
solely on Tom Robinson or may include other African American characters in the film. Use a separate sheet of
paper to write your paragraph.
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128
Answer Keys
Chapter 1: What is a Movie?
Part 1: Key Terms
1. b, 2. f, 3. h, 4. a, 5. g, 6. d, 7. e, 8. c
Part 2: The Film’s Content and Narrative Structure
9. c, 10. d, 11. a, 12. d, 13. c, 14. b, 15. b, 16. c
Part 3: Moving-Image Technology and Film Preservation
17. Answers may include two of the following: Zoetrope, a type of spinning wheel that created the illusion of movement;
the Kinetoscope, a machine in which single images flipped very quickly to create the illusion of movement; the
technique of using moving images to tell a story, such as in the film The Great Train Robbery; sound, which allowed
audiences to hear what actors said and to hear sound effects; color film; wide screens; and the use of computers to
create digital images and sounds. Note that the question does not ask for specific dates.
18. The film must be at least 10 years old, and the film must have cultural, historic, or aesthetic (artistic) value to
the country.
19. (a) Nitrate decay — Answers should include at least two of the following details: Image browns and fades; the
emulsion becomes sticky, then softens and blisters; gases escape and cause rusting and a strong odor; the film
crumbles into powder. (b) Acetate decay — Answers should include at least two of the following details: Film begins
to smell like vinegar; plastic begins to shrink; film curls and warps; emulsion becomes brittle and flakes; white
powder appears on the surface of the film.
20. The film should be stored in a cool, dry place.
Part 4: Essay Question
21. Answers will vary but should include two or more of these points: Most movies tell a story about people; a movie
allows the audience to see and hear the story rather than read the story; a movie uses visual and sound symbols to
suggest meaning; a movie has a three-act narrative structure.
Chapter 2: The Filmmaking Process
Part 1: Filmmaking Roles
1. d, 2. g, 3. c, 4. a, 5. f, 6. b, 7. e
Part 2: Stages of Production
8. c, 9. b, 10. c, 11. d, 12. a, 13. d, 14. a, 15. c, 16. c, 17. b, 18. a, 19. b
Part 3: Essay Question
20. Answers will vary, but explanations should touch upon the two parts of this quote: First, just as a novelist, a
musician, or a painter is an artist, so too is the filmmaker. Second, the process of making a film, unlike other art
forms, requires the talents of many people. A director or a cinematographer or screenwriter alone cannot make a
film, but together they can. Examples may include any number of scenes or shots from the movie. One example is
when Atticus departs the courtroom having lost the trial. The work of the cinematographer shows the action from
various angles and distances and in specific light, all of which contribute to meaning. The actors’ performance
suggests meaning, and the production designer creates the set to make the story believable. In addition, the film
editor determines which shots to use and how. Finally, the music composer creates a score that both conveys
information and triggers emotional responses in the audience. All of these people work under the supervision of
the director and his or her vision for this particular scene.
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Chapter 3: Film Language and Elements of Style
Part 1: Key Terms
1. i, 2. g, 3. b, 4. j, 5. f, 6. a, 7. h, 8. c, 9. d, 10. e, 11. o, 12. l, 13. n, 14. m, 15. k
Part 2: Reading a Scene
Camera Angles and Distances
1. Answers may include one of the following: the town center as the cars arrive, Atticus sitting alone on the jail porch,
and at the end of the scene when the children are walking away from Atticus across the town center. The long shot
shows the audience where the action is taking place, not only the location but also the time of night. The long shot
also shows that no one else is walking the streets; Atticus is alone.
2.
Answers may include one of the following: Atticus’s face reacting to the arrival of the cars, Jem’s face as he refuses to
go home, Scout’s foot kicking a man’s leg, and Scout speaking to Mr. Cunningham. In all cases, the close-ups direct
the audience’s attention to important details and so reveal information, such as Atticus’s reaction when the cars arrive.
3.
One example occurs at the point when the cars begin to arrive. The camera shows Atticus close his book and press
his lips together. The angle is shot from below, suggesting his power and authority. A second example is the shot
that shows Atticus on the porch, telling the men to go back home. This also suggests his authority and power — to
defend Robinson.
4.
Answers may include the following: the shot of the children standing in front of the mob just below the jail porch.
The position of the camera is above the children, looking down at them as they look up at Atticus. The high-angle
suggests their vulnerability. This occurs before they step up onto the porch with Atticus. A second example is Scout
looking at Mr. Cunningham, suggesting Cunningham's weakness and/or shame in not wanting to recognize Scout.
Lighting
5. The source of light is meant to be the lamp by which he is reading. The light halos him. He is the point of emphasis.
However, students should also note that there is light behind Atticus, illuminating the bars on the jail window. The
lighting conveys information about the setting, that it is nighttime outside the jail.
Movement
6. Examples of subjects in movement include: cars arriving and men walking toward Atticus, children running
toward the circle of men that surround Atticus, and Atticus pacing on the porch after everyone has left. An example
of the camera in motion is a forward movement through the crowd, suggesting the children are pushing through
to the front.
Point of View
7. Answers may include: the movement of the camera as the children push through the men at the jail, as if seen
through their eyes; and looking down at Mr. Cunningham, as if seen through Scout’s eyes.
Sound
8. The sound of cars arriving and stopping (visible); the rustle of the bushes as the children spy on Atticus (visible); footsteps of men as they walk away (visible); car engines starting (visible); after everybody leaves, the sound of Robinson’s
voice, apparently from inside the jail cell (invisible).
Editing
9. The camera shows Mr. Cunningham lowering his head. The camera next shows Atticus turning to look down
on Scout. Both reaction shots suggest Scout’s words have had an effect. Mr. Cunningham appears ashamed or
embarrassed; Atticus seems curious or surprised.
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Think More About It
10. No one ever states that they mean to harm or “lynch” Tom Robinson, but the danger to Tom is suggested in a number
of ways: Atticus’s troubled and stern expressions in facing the men suggests his concern for Tom’s safety. Jem’s refusal
to go home as told suggests he fears for his father. The insistence of the men for Atticus to move away from the jail
suggests they have come for a prisoner. The guns the men carry also suggest their intention to exact their own justice
on the prisoner.
Answer Keys
Chapter 4: Historical and Cultural Contexts
Part 1: Key Terms
1. d, 2. g, 3. c, 4. b, 5. f, 6. e, 7. a, 8. h
Part 2: The Link Between Film and Society
9. c, 10. c, 11. b, 12. c, 13. d, 14. b, 15. a
Part 3: Civil Rights Issues in To Kill a Mockingbird
16. Answers should include these two details: Jim Crow laws were based on misguided racial stereotypes that African
Americans were inferior to white people; Jim Crow laws were a means of segregating African Americans from the rest
of society.
17. Answers will vary but should include two of the following: African Americans could not be buried in ground set
apart for the burial of white people; could not enter the same waiting room or use the same ticket window in bus
and train terminals as white people; could not ride in the same sections as white people on trains and buses; could
not marry a person of another race; could not receive treatment in white hospitals; could not eat in the same
restaurant or the same section of a restaurant as white people; could not frequent the same public parks or
lavatories as white people; could not drink from the same water fountains as white people.
18. Answers will vary but should focus on the main idea that African Americans are no longer willing to endure a
sense of “nobodiness” and despair triggered by unjust laws that deny them their civil rights, nor are they willing
to wait any longer for their constitutional rights, brotherhood, understanding, an end to racial prejudice, and a
change in laws.
19. The movie portrays in an accurate way a real person, Reverend Martin Luther King Jr., and a real event or social
issue, civil rights protests of the 1960s. The film is based on primary source documents.
Part 4: Essay Question
20. Answers will vary but should mention lighting, sound, camera angles, visual symbols, or reaction shots. Close-up
shots of Tom Robinson, for example, reveal the despair and nobility he experiences while testifying. The use of light
in that scene is high-key rather than low-key. His face is not shadowed or mysterious or distrustful. The behavior of
the spectators in the balcony is noble in their rapt attention to the details of the trial and their silent show of respect
for Atticus as he leaves the courtroom. In addition, music is melancholy rather than frightening or dramatic during
shots of the spectators in the balcony. Overall, the portrayal of other African Americans in the film is quite dignified.
They are well-mannered, well-dressed in that they are clean and neat, and their show of respect to Atticus, even
though he has not won, is one of the film’s most poignant moments.
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A
B
C
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 project has provided four PBAs, which teachers can use or adapt to students’ needs.
They are:
Chapter 1: Conduct an Oral History Interview. The focus is on aesthetic valuing and viewer’s response.
The presentation is a written oral history.
Chapters 1 and 2: Pitching a Children’s Book as a Family Film. The focus is on a film’s content and narrative
structure as well as the collaborative process in developing a film from concept through final production.
The presentation is a persuasive demonstration or speech.
Chapter 3: Creating a Movie Cube. The focus is on visual design and composition. The presentation is an art project.
Chapter 4: Creating a Political Cartoon. The focus is on linking social and political issues to the film To Kill a
Mockingbird. The presentation is a political cartoon.
Each PBA activity has both a student activity page for distribution to those students who will complete the project, 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 those criteria with students so as to inform them
exactly how their performance will be evaluated.
Keep in mind also that performance-based assessment 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.
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Performance-Based
Assessment
Name
Class
Date
Chapter 1 Performance-Based Assessment:
Conducting An Oral History Interview
Student Activity Sheet
The following activity focuses on film heritage and explores the various ways people have viewed and
responded to film. You will conduct an oral history interview with one or more members of your family or
community to explore their moviegoing experiences in the 1950s and 1960s. The goal of the interview(s) is
to learn why people went to the movies and what the moviegoing experience meant to them.
Materials
A tape recorder or video camera; paper; pen or pencil; note cards
Method
Step One. Plan the interview. Decide whom you want to interview. Older family members and neighbors as well as
teachers, principals, and local business people in your community are possible interview subjects if they have had
personal experiences that in some way qualify them to comment on or discuss the oral history topic. Second, decide
how you will record the interview session. You may use a tape recorder or a video camera. If using a video camera,
you may need a third person to operate the camera so you can concentrate on the interview itself. Or you may use a
camera mounted on a tripod in a fixed position, focused on your subject.
Step Two. Make a list of 6 to 10 interview questions relevant to your subject. Use open-ended questions rather than
questions that solicit a single-word response. Consider the following points specific to recalling moviegoing
experiences of the 1950s and 1960s:
• Movie houses and drive-in theaters: In many communities the venue, or place, where movies are screened have
changed since the 1950s and 1960s.
• Cost of admission and frequency of attendance: This too has changed since the 1950s and 1960s.
• Movies: Some movies make lasting impressions on people. Others are remembered not because of the film
itself but rather the moviegoing experience.
• Attitude toward movies: As people age and times and neighborhoods change, so do people’s attitudes and
points of view.
Step Three. Contact the person or people you would like to interview and explain your project. Indicate the type of
questions you may be asking and in general how long you expect the interview session to take. Arrange for a date, a
time, and a convenient place at which to hold the interview. The place may be a local library or your school
classroom. Be certain to inform your subject that you will be recording the interview on tape or on a video camera and
be sure that your subject agrees to this.
Step Four. Conduct the interview. A good researcher is a good listener. Respond to the subject’s answers by asking for
specific details when necessary to clarify information. What do you mean by that? and Can you give me an example of
that? are two prompting questions you might use. Take notes even if you are recording.
Step Five. Transcribe, then read and organize your notes. Your transcript is not your oral history. You must interpret your
transcript, identifying key points and then making inferences and/or drawing conclusions about the information your
subject has provided. You may delete repetition or the awkward “ums” and “ahs” that are part of informal
conversation, but you should not reword the answers.
Step Six. Write an introduction to your oral history. Include the name and a brief description of each person interviewed,
and the date and place of the interview. Also in your introduction, summarize the key points about the moviegoing
experiences of each interviewee.
Step Seven. Write the oral history using a question-and-answer (Q-and-A) format.
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© 2005, The Film Foundation. All Rights Reserved.
Name
Class
Date
Teacher Page
Use the scoring criteria on this page to assess student work. Some teachers may wish to duplicate this
sheet to distribute to the students as an explanation of how their projects will be graded.
Conducting an Oral History Interview presents students with two challenges: first, to develop interview
questions and conduct the interview itself; second, to write the oral history and make conclusions based
on the information from the interview. 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 Conducting the Interview
Criteria for Writing the Oral History
Are the questions relevant to the oral history topic?
Are the questions open-ended? Is the person (or
people) interviewed in some way qualified to
comment on the oral history topic?
How well has the student interpreted and organized
the oral history? Has the student identified key points
and drawn conclusions based on those points?
3 points: Accomplished
All information is relevant and promotes greater
understanding of the subject. The student has
included original and interesting details. The student
has edited the history in such a way as to highlight
key points and to remove unnecessary repetition and
irrelevant information. The history reflects the
subject’s voice and attitude. The introduction
identifies the subject and date as well as summarizes
the key points.
3 points: Accomplished
The student’s questions are both relevant and
thoughtful, soliciting discussion on the project topic.
The questions are open-ended, prompting the subject
to relate details and/or anecdotes about the topic. The
person or people interviewed are not only qualified
to comment on the project topic but offer interesting
or unusual perspectives on the topic.
2 points: Satisfactory
The student’s questions are mostly relevant, though
some questions are not as thoughtful or well crafted.
The questions are mostly open-ended. The person or
people interviewed have some personal experiences
that are interesting and relevant to the topic.
1 point: Unsatisfactory
The student’s questions are mostly irrelevant and do
not prompt revelation about the project topic. The
questions are most often closed-ended, soliciting little
more than yes and no answers. The person or people
interviewed have little expertise or experience
concerning the project topic.
2 points: Satisfactory
Some key points are identified, but some
information, while interesting in general, does not
provide insight to the period of history on which the
topic focuses. The student has edited the history so
that unnecessary repetition is deleted, but additional
editing is needed to focus the history-relevant
information. The history mostly reflects the subject’s
voice and attitude. The introduction identifies the
subject and date but fails to summarize all key
points.
1 point: Unsatisfactory
Key points are missing. The information is presented
in a confusing manner. No attempt has been made to
edit the subject’s responses, and/or the student has
rewritten the responses so that the subject’s words are
no longer his or her own. The introduction is
incomplete or missing.
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© 2005, The Film Foundation. All Rights Reserved.
Performance-Based
Assessment
Chapter 1 Performance-Based Assessment:
Scoring Criteria for Conducting An Oral History Interview
Performance-Based
Assessment
Name
Class
Date
Chapters 1 and 2 Performance-Based Assessment:
Pitching a Children’s Book as a Family Film
Student Activity Sheet
The following activity tests your knowledge of story elements and the characteristics that distinguish a
film’s visual medium from other storytelling venues. It also tests your persuasive writing and speaking
skills. You will select a children’s picture book that you think will make a great short family film, and then
prepare a three-to-five-minute presentation. Your goal is to convince a filmmaker that your “vision” for a
film based on this book will indeed make a great family film.
Materials
A selection of children’s storybooks or picture books from which you will select a single story as the subject of your
persuasive pitch; index cards and poster board — or computer and computer-generated images — to use as visual
aids in your presentation.
Method
Step One. Read at least three different children’s picture books before selecting the one you think will translate best into a
visual storytelling medium. Some suggested stories include but are not limited to: Where the Wild Things Are, Are You My
Mother?, Mufaro’s Beautiful Daughter, Calico and Tin Horn, Annie and the Old One, Cat in the Hat. Because children’s books
rely heavily on illustrations, study the images as well as the words. Remember — your goal isn’t to choose your
favorite story but rather the story that can best be adapted into a visual medium.
Step Two. Use note cards on which to identify the book’s story elements and narrative structure and to prepare for your
presentation. Consider the following points:
• Content — What is the story about? Write a one-sentence statement of the story’s subject.
• Character — Who are the main characters? Write the name and a brief description of each main character on
separate note cards.
• Setting — Where and when does the story take place? Use separate note cards to identify each site, or
location, where action takes place, including both interior and exterior settings.
• Plot — What events are necessary to include in the film? Which can be excluded? Use separate note cards to
identify and briefly summarize each event that occurs. Review, if necessary, your notes from chapter 1 on
rising action, climax, and falling action.
Step Three. Arrange your note cards on a poster board for your presentation. You may use images as well as the note cards
— or assemble screen images and notes on your computer — to help you persuade the movie producer that your idea
will make a terrific film.
Step Four. Plan and rehearse your presentation, using your note-card or computer-generated display as a visual aid and
presentation tool. Time your presentation. If it runs more than five minutes, trim or rewrite. If it runs less than three
minutes, add material or rewrite. Keep the following points in mind:
• Audience — Don’t explain what a film is or how it differs from a book. Your audience is a filmmaker who
knows this. What the filmmaker doesn’t know is what this children’s story is about and why it would make
a great film.
• Purpose — A pitch is a persuasive presentation. Your goal is not to convince the filmmaker that you read the
book and know what happens. Instead focus on why these characters and these events will be of real interest
to the people who will pay to see the film — families with children.
• Design — A film is a visual medium. Use specific examples of what information you would include in the
movie so the filmmaker will be able to imagine what it might look like.
Step Five. Make your presentation.
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© 2005, The Film Foundation. All Rights Reserved.
Name
Class
Date
Teacher Page
Use the scoring criteria on this page to assess student work. Some teachers may wish to duplicate this
sheet to distribute to the students as an explanation of how their projects will be graded.
Pitching a Children’s Book as a Family Film presents students with two challenges: first, to analyze story
elements and to visualize how those elements may be adapted into a film; second, to make a persuasive
presentation to a specific audience. 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 Analyzing Story Elements and
Visualizing the Adaptation
Criteria for Making a Persuasive Presentation
Does the student understand story elements and
narrative structure as well as the difference between a
story meant to be read and a story meant to be seen?
3 points: Accomplished
Does the student organize and present materials,
including the visual aid, with audience and purpose
in mind?
3 points: Accomplished
The presentation has well-chosen details to illustrate
key story elements and how they might be adapted
into a film format. All points are relevant and
persuasive, focusing on the why and how of
adaptation.
The student’s body language is confident, relaxed,
and not distracting. The student makes good eye
contact and refers to notes but does not rely on them.
The student’s speech is clear and well paced. The
visual aid is interesting and easy for the audience to
read. The student uses the visual aid effectively.
2 points: Satisfactory
2 points: Satisfactory
The presentation is informative with many good
details. Yet some story elements are missing or are
incomplete. Emphasis is on summarizing the story
elements rather than adapting them to a visual
medium.
The student’s body language is relaxed. The student
makes audience eye contact but relies too frequently
on prepared notes and/or the visual aid. The student’s
speech is mostly clear but could be more expressive.
Delivery is generally well paced but at times is either
too slow or too fast for the audience to follow. The
visual aid is basic without clear headings and/or is
difficult to read. The student primarily reads the
information on the visual aid.
1 point: Unsatisfactory
The presentation was fragmented or repetitive or
undeveloped, reading more like a list of elements
rather than an argument. The information was
unorganized and did not address or illustrate an
understanding of the specific characteristics of a
visual storytelling medium.
1 point: Unsatisfactory
The student is clearly uncomfortable speaking. Body
language and gestures are distracting. The voice is too
soft and is unexpressive. Delivery is either too slow
or too fast. The student relies on the visual aid,
reading from it. Or the visual aid is missing
altogether.
137
© 2005, The Film Foundation. All Rights Reserved.
Performance-Based
Assessment
Chapters 1 and 2 Performance-Based Assessment:
Scoring Criteria for Pitching a Children’s Book as a Family Film
Performance-Based
Assessment
Name
Class
Date
Chapter 3 Performance-Based Assessment:
Creating a Movie Cube
Student Activity Sheet
The following activity requires you to apply your understanding of cinematic composition — in particular,
the relationship between words and images, camera angles and distances, colors and shapes — by creating
a movie cube. You will create six related images, one on each side of a cardboard box. The goal is to
communicate a single emotion using visual images.
Materials
A square cardboard box of any size; images and/or words cut from newspapers or magazines, or your own drawings
and words; colored paper; multicolored pens, crayons, or markers; scissors; tape and/or glue
Method
Step One. Select an emotion as the subject of your movie cube. You can select one of the emotions below or another not
listed. You will communicate this emotion to an audience using six sides of your cardboard box.
• love
• happiness
• loneliness
• cowardice
• patriotism
• nervousness
Step Two. Pick up your box. Imagine that each flat surface is a film frame. Each frame is separate from the other sides
of the box, and yet the frames are related. If you turn the box — right or left and up or down — six different frames
can be viewed. Decide which frame will be your starting point. Number this frame 1. Next, decide the direction your
cube will rotate — left or right, then up or down. Number these frames in order 2, 3, 4, 5, and 6.
Step Three. Design your cube one frame at a time. For each frame, consider the following elements of cinematic
composition:
• People or objects: What images of people or objects do I want to use to communicate this emotion?
• Angles: From what angles do I wish to show this emotion — high, low, and/or eye level?
• Distance: From what distances do I wish to show this emotion — far or long, medium, close-up, and/or
extreme close-up?
• Visual elements: What colors, light, and/or lines do I wish to use to communicate this emotion?
• Words: What words could I use in one or more of the frames to reinforce the visual design?
Step Four. Make each of the six sides of the box part of your design, so that all the different sides of the box work together to
tell the audience what emotion the cube is communicating. In other words, you may choose a long shot in frame 1 but a
medium shot and a close-up in frames 2 and 6. Or you may focus on two or more people or objects in frame 1, but
just one person or object in the remaining frames. Keep in mind that all six frames must work together thematically.
You are not telling a story but rather using the six different frames to communicate a single abstract idea.
Example: Fear
What objects, places, or situations suggest fear? A dark street at night can surely be frightening. But fear can
also rise from other situations, such as taking a test or diving from a high platform into a pool. If you select
the scenario of a dark street at night, then perhaps your first frame will be a long shot showing that street,
using dark colors and sharp angles. Subsequent frames in the sequence will develop the visual design,
perhaps by showing a medium shot of a No Trespassing sign, then a close-up of a hand on a doorknob. If
you select the diving scenario, then perhaps the first frame is a close-up the diver’s toes on the very edge of
the platform. The subsequent frames show images that are medium shots of the diver, followed by a highangle shot showing the pool below and suggesting the height of the platform.
Step Five. Create your cube using materials suggested in the list above.
138
© 2005, The Film Foundation. All Rights Reserved.
Name
Class
Teacher Page
Use the scoring criteria on this page to assess student work. Some teachers may wish to duplicate this
sheet to distribute to the students as a way of explaining how you will grade their projects.
Creating a Movie Cube presents students with two challenges: first, to communicate an abstract idea
using a composition of visual images; second, to create a continuity among the six images. 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 = 6 points.
Criteria for Communication and Composition
Criteria for Continuity
How well does the student use words and images,
angles and distance, colors and shapes to
communicate the emotion in one or more of the
frames?
How well does the student relate the six frames to
one another?
3 points: Accomplished
All six frames communicate the same emotion or
mood, using multiple elements of cinematic
composition: words and images, angles and distance,
and colors, light, and/or lines.
All six frames work together to communicate the
emotion. Compositional elements among the six
frames are consistent, though the frames themselves
may show different images, different angles, different
light, lines or colors. Movement from one frame to
the other is evident.
2 points: Satisfactory
2 points: Satisfactory
Two or three sides are complete and communicate
the emotion effectively. The design shows an
understanding of cinematic composition, but the use
of the elements is limited to two compositional
elements such as words and color, or distance and
words, etc.
Two frames work together but two frames are
contradictory. Compositional elements are mostly
unified and consistent. Movement from one frame to
another is confusing.
3 points: Accomplished
1 point: Unsatisfactory
The emotion is not communicated or is contradictory.
Three sides are incomplete or blank. Overall the cube
lacks design or focuses on a single compositional
element only, such as color, words, or light and lines,
etc.
139
© 2005, The Film Foundation. All Rights Reserved.
1 point: Unsatisfactory
The images do not work together to communicate a
single emotion or idea. Movement from one frame to
the other is not obvious or logical.
Performance-Based
Assessment
Chapter 3 Performance-Based Assessment:
Scoring Criteria for Creating a Movie Cube
Date
Performance-Based
Assessment
Name
Class
Date
Chapter 4 Performance-Based Assessment:
Creating a Political Cartoon
Student Activity Sheet
The following activity tests your understanding of depictions and of the social issues of the early 1960s,
during which the film To Kill a Mockingbird was made. First, you will interpret a political cartoon of the
period and make links between that period and the ideas or themes of the film. Write your interpretation
in a short paper, providing specific details. Second, you will create a political cartoon of your own, based
on the film.
Materials
Paper and pencil, or scissors and old magazines and newspapers.
Method
Step One. Analyze the cartoon. At first glance, this political cartoon may
appear to have nothing in common with the film To Kill a Mockingbird.
However, the cartoonist created this drawing in the same period as when
the film was made and released in theaters. In addition, both the cartoon
and the film have similar themes and are representations, or depictions.
Study the cartoon. Pay attention to the title and the caption. A political
cartoon doesn’t use many words, but the ones the cartoonist selects are
there for a purpose. Ask yourself, Why did the cartoonist select this title or
this caption? Next, look for visual symbols in the cartoon. Is anything
exaggerated? What is the message being communicated in this image?
How do you know? How does this cartoon image affect your view of other
people? Use the political cartoon at right as a model for creating a cartoon
of your own.
“Pray Keep Moving, Brother”
– from Herblock: A Cartoonist’s Life (Times Books, 1998)
Step Two. Create a political cartoon that in some way comments on the effect To Kill a Mockingbird might have had on
American society in the early 1960s — the period in which the film was made. Start by selecting one of the quotes below as
inspiration for your image and interpretation. You need not agree with the quote to use it as a source of inspiration
for your cartoon.
• Gregory Peck, actor: “The movie came at a critical time in the fight for racial justice and civil rights legislation
that would put an end to some of the worst of the bigotry and the restrictions and oppression in the South.”
• Steven Ross, author: “Movies do more than simply show us how to dress, how to look, or what to buy. They
teach us how to think about race, gender, class, ethnicity [cultural traits], and politics.”
Step Three. Make multiple rough sketches of your idea. Do not worry about your artistic ability. If you feel you cannot
draw, you can create your cartoon using images and words cut from newspapers and magazines. Your artistic talent is
not important to this assignment. What is important is your ability to use a depiction to make a political point about
the film and a 1960s social issue. Your cartoon must therefore have a subject and express a point of view.
Step Four. Select the best sketch or arrangement of cutouts that communicates your idea. Complete the sketch or
arrangement, polishing it for presentation. Give it a subject line, a title, and a caption.
140
© 2005, The Film Foundation. All Rights Reserved.
Name
Class
Teacher Page
Use the scoring criteria on this page to assess student work. Some teachers may wish to duplicate this
sheet to distribute to the students as an explanation of how their projects will be graded.
Creating a Political Cartoon presents students with two challenges: first, to interpret political cartoons
relevant to the social issues of the period in which the film was made; second, to apply students’
knowledge of the film and the period in which it was made to create a political cartoon. Assess student
work on a holistic 3-point scale so as to give full or partial credit on each of these two levels. Note that
artistic ability is not part of these criteria, but identifying and expressing social issues and points of view
are. Maximum score overall = 6 points.
Criteria for Interpretation
Criteria for Application
How well does the student’s response to the cartoon
show an understanding of the message? Is the
student able to derive personal meaning from the
cartoon and express that meaning in writing in a
coherent, organized way?
How well does the student’s cartoon illustrate a social
issue and point of view? Does the student make a link
between the film’s values and the values of the society
in which the film was made?
3 points: Accomplished
3 points: Accomplished
The student identifies the social issue that underlies
the cartoon as well as the cartoonist’s opinion about
that social issue. The student identifies a technique
used to create the message, e.g., symbolism,
exaggeration, sarcasm, irony, etc. The student derives
personal meaning from the cartoon.
2 points: Satisfactory
The student’s cartoon focuses on a single social issue
but fails to express a point of view on that issue. The
image and words reflect either the film or society but
do not necessarily make a smooth link between the
two.
2 points: Satisfactory
The student identifies the social issue that underlies
the cartoon but has some difficulty identifying the
cartoonist’s point of view. The student does not
clearly identify a technique used to create the
message. The student has some difficulty in
expressing the personal meaning he or she derives
from the cartoon.
1 point: Unsatisfactory
The student fails to focus on a single social issue and
to express a point of view. The image and words are
contradictory or confusing.
1 point: Unsatisfactory
The student lacks an understanding of the social
issue and the cartoonist’s opinion. The student does
not comment on techniques used to create the
message. The student does not derive personal
meaning from the cartoon.
141
© 2005, The Film Foundation. All Rights Reserved.
The student’s cartoon focuses on a single social issue
and expresses a point of view on that issue. The
image and words work together to link the film with
society in the 1960s by using symbolism,
exaggeration, sarcasm, irony, or some other device.
Performance-Based
Assessment
Chapter 4 Performance-Based Assessment:
Scoring Criteria for Creating a Political Cartoon
Date
142
A
B
C
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143
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
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.
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.
146
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.
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
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.
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
150
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151
Glossary Of Key Terms
The following are terms introduced in lessons throughout the teacher’s guide and are key to understanding
the language of film.
A
acetate decay – a deterioration over time of the plastic substance in film, most often caused by moisture or heat
adaptation – in film, a revision or an altered copy of a previously published work
amplitude – volume
angle – the way a camera views the subject. Common camera angles include high-angle, low-angle, and eye-level shots.
archive – a collection or repository of documents, files, or records
B
backlighting – a type of lighting used to minimize shadows or, if bright enough, to create silhouettes
body double – actor who stands in for the star during certain shots
C
cellulose acetate – the acetate-based stock that film was printed on after 1948
cellulose nitrate – the nitrate-based stock that film was printed on prior to 1948
cinematographer – a filmmaker who plans how to shoot the film, including the use of light and camera movements
cinematography – a language that communicates ideas, emotions, and relationships to the audience through the use of
light and shadows, and movement
climax – the point at which the conflict reaches its maximum tension in a confrontation of physical or emotional action;
also called the turning point. In a film, the climax occurs at the end of act 2.
close-up (CU) – a type of shot in which the camera moves close to the subject; generally used by filmmakers to create
emphasis
collaboration – the process of working together to create a product or service
color palette – an array or selection of colors. A color palette for a scene in a film, for example, might include colors
within the gray-to-taupe range or in the yellow-to-golden range.
composition – the arrangement of elements, including people and objects, within the boundaries of a frame
content – the basic story elements in a film, or what the film is about
continuity – the art of maintaining consistency from shot to shot and scene to scene in a film, even when scenes are
shot out of sequence
contrast – the difference between light and dark areas in an image
crane – a boom or a mechanical arm that can move through the air and on which the camera is mounted to photograph
the subject below; a type of shot using such a moving boom
critique – a close examination of a film consisting of four areas of discussion — description, analysis, interpretation,
and evaluation
cut – the point at which one shot or scene ends and another begins
D
depiction – a representation or description using pictures or words
depth – the illusion of distance in an image
diffuse light – a lighting effect in film in which light is scattered rather than focused on a subject and so creates softness
direction of light – the source of the lighting. The light source may be in front, back, above, below, or to the side of the
subject. The placement of the light source changes the lighting effect on the subject.
director – the person who has the greatest understanding of how the final film will appear. The director works in
collaboration with all the other filmmakers to make the screenplay come alive on the screen.
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director’s vision – how the director imagines the final film will look and sound. This vision drives all stages of
production, from casting to photographic images and from set design to the film’s final cut.
dissolve – a type of transition between shots where one image slowly fades out, or disappears, while another image
gradually fades in, or appears
dolly – a type of platform with wheels on which the 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
dynamics – the degree of loudness or softness of sounds in relation to the mood being communicated
E
emulsion – a light-sensitive coating above the clear plastic base in film stock
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, or long shots, to reveal setting.
exposition – information about a person, place, or thing necessary for the audience’s understanding of the characters
and their motivations
F
fade in – to gradually appear on the screen; a type of transition between shots where one image gradually appears
fade out – to slowly disappear into darkness; a type of transition between shots where one image slowly disappears
film drama – a type of movie that focuses on realistic characters and their internal as well as external conflicts. Film
dramas often focus on social concerns or issues.
film editing – assembling shots into scenes and scenes into the final film
film editor – the person who selects the best shots and pieces together the final film
final cut – the final version of a film as assembled by the director and the film editor
fixed camera – a stationary camera that remains in one position
frame – a single photograph on a strip of film
front lighting – a lighting effect in which the light source is in front of the subject
G
genre – a group of films that share some similarities in plot, character types, themes, and filming techniques
H
hard light – a lighting effect created by direct light striking the subject head on and which results in a harsh, even
glaring effect
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 and cheerful mood or atmosphere.
I
inciting incident – an event that occurs early in the story and results in a conflict for the main characters
intensity of light – the amount of light a cinematographer uses for a shot. See key light.
J
juxtaposition of images – the placement of images one after the other to suggest meaning or the passage of time
153
Glossary
documentary – in film, a nonfiction movie that portrays real people and events in an accurate way. Documentary
films, however, may still reflect the viewpoint or bias of the filmmaker.
K
key light – the principal or primary light in a shot. High-key lighting results in more areas of brightness, while low-key
lighting creates shadows and less brightness.
Kinetoscope – an invention by Thomas Edison that gives an impression of movement by using an endless loop of film
moved continuously over a light source. The Kinetoscope was a precursor of the modern motion-picture projector.
L
light source – the placement of the key light in a shot. The light will create different effects depending on the
placement of the light source.
long shot (LS) – a type of shot in which the camera is placed some distance from the subject; sometimes referred to
as an establishing shot. An extreme long shot gives slightly more detail than a long 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
mannerisms – specific actions or gestures that distinguish a person. In film, actors use mannerisms to communicate a
character’s mood or motivation to the audience.
medium or mid-shot (MS) – a type of shot in which the camera focuses on a person from about the waist up
medium light – light that falls between hard and soft
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, and costume.
mobile camera – a camera mounted on a platform or track so that the operator can move it 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 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 on television or in movie theaters
music composer – the musician who writes the music score for a movie
music score – the music that accompanies the action on the screen
N
narrative structure – the way a filmmaker tells a story, often using the three-act formula
nitrate decay – the deterioration over time of the plastic substance in film, usually caused by moisture or heat
O
opening credits – the presentation of images at the beginning of a film that lists the primary filmmakers who
collaborated in making the film. The opening credits generally include the director, actors, cinematographer,
production designer, and producer. End credits is a more detailed listing of professionals and craftspersons involved in
making the film and comes at the end of the film.
objective point of view – a viewpoint in which the camera is positioned so that the audience is on the outside,
viewing the action on the screen as if a spectator
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© 2005, The Film Foundation. All Rights Reserved.
P
pacing – the overall rhythm of the scenes
pan – a side-to-side type of camera movement, or to move the camera in such a way
point of view (POV) – 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. During post-production, the sound score, including the music
composition, is also assembled.
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 achieve the film’s overall look, including cinematography and set and
costume design
preservation – in film, steps taken to slow the deterioration of film. This includes storage in refrigerated facilities and
sometimes copying damaged film onto new, safer film stock.
production – a stage in the filmmaking process in which the director shoots 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 actors.
production designer – the person who works with the director to create the physical world of the film, planning and
overseeing sets, scenery, locations, props, costumes, makeup, and hairstyles; also called the art director
props – all the objects, or property, required for a scene in a movie
Q
quality of light – the type of light in a shot. The quality may be diffuse (soft), medium, or direct (harsh).
R
raw footage – all the shots photographed for a movie. From raw footage the director and film editor select the best
shots to use in assembling the final film.
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
reel time – compressed or expanded time in films, created through montages and scene transitions
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.
restoration – in film, the process of returning a film to a version most faithful in appearance and sound to its original
cut. This often includes combining fragments from one or more copies of the film.
rhythm – the beat, or pattern of repetition of sound
rising action – cause-and-effect relationships and events that follow the setup and lead to a climax, or turning point.
In a film, rising action occurs in act 2.
rough cut – an early version but not the final version of a film. The film editor creates the rough cut in the studio
from raw footage.
S
safety film – a type of film made with a polyester base that replaced highly flammable nitrate-based and acetatebased film
scale – size ratio
155
Glossary
pitch – the highness or lowness of sound
point of emphasis – within a frame, the object or person on which the cinematographer wants the audience to focus
attention
screenwriter – the person who writes the film script and often works closely with the director
sequence – a series of shots that follow one after the other
shot – a segment of film between cuts and transitions. It is made up of a series of single frames set in motion.
side lighting – a lighting effect in which the light source is to one side of the subject
soft light – a lighting effect created by diffusing the light so that it doesn’t strike the subject directly
sound editing – assembling 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 dialogue or sound effects
sound symbol – a sound effect or passage of music that suggests meaning or represents something or someone else
splice – to join two pieces of film during the editing process
storyboard – a shot-by-shot layout drawn before shooting or editing the scene
stunt double – actor who performs dangerous physical action for a star during certain shots
subjective point of view – a viewpoint in which the camera is positioned so that the subject and action are seen as if
through the eyes of one of the characters in the film
T
texture – in film composition, the patterns, shapes, and shadows that create the illusion of three dimensions
tilt – an up-and-down type of camera movement, e.g., the camera tilting up and down to track a child jumping on a
trampoline; or to move the camera in such a way
tone – in music, the color or quality of sound; also called timbre
track – a railway that allows a camera on a platform to move at various speeds when photographing a subject
tracking shot – a type of shot using a camera on a railway. See track.
transition – a means of ending one shot and beginning another. Common transitional devices include dissolves, cuts,
fade-ins, and fade-outs.
U
under lighting – a lighting effect in which the light source is below the subject to cast shadows upon it
V
visual design – a film’s overall look. Elements of visual design include lighting, set design, and costuming.
visual symbol – visual information used by a filmmaker to represent something else, e.g., a close-up of a clock
representing time passing
voice-over narration (VO) – 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.
Z
Zoetrope – a circular wheel or drum with vertical slits in the sides through which to view a sequence of images lining
the inside. When the wheel spins, the images appear to move.
zoom – a forward type of camera movement, which enlarges the subject on the screen for emphasis, or to move in
such a way
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Notes
157
The Film Foundation
Board of Directors
Martin Scorsese (Chair), Woody Allen, Robert Altman, Francis Ford Coppola, Clint Eastwood, Stanley Kubrick (in memoriam),
George Lucas, Sydney Pollack, Robert Redford, Steven Spielberg
President
Michael Apted
Secretary-Treasurer
Gilbert Cates
Archivists Advisory Council and Affiliated Organizations
Robert Rosen (Chair), Academy Film Archive, George Eastman House, Library of Congress, Museum of Modern Art, UCLA Film
and Television Archive, National Center for Film and Video Preservation at the AFI, National Film Preservation Foundation
Artists Rights Education and Legal Defense Fund Council
Tom Cruise, Harrison Ford, Milos Forman, Taylor Hackford, Dustin Hoffman, Anjelica Huston, Bruce Ramer,
Elliot Silverstein (Chair), and Ken Ziffren
Staff
Margaret Bodde, Jennifer Ahn, Amy Brotherton, Jennisen Svendsen, Andrew Bottomley
The Film Foundation was created in 1990 by Martin Scorsese and a distinguished group of fellow filmmakers, to preserve and
protect our cinematic heritage. Through educational programs, national campaigns and public events, the foundation is dedicated
to fostering greater awareness of the urgent need to save our motion picture history.
The Film Foundation provides substantial annual support for preservation and restoration projects at its member archives — the
Academy Film Archive, George Eastman House, Library of Congress, MoMA, UCLA Film & Television Archive — and affiliated
organizations — the National Center for Film and Video Preservation at the AFI and the National Film Preservation Foundation.
This support has resulted in the preservation and restoration of such legendary feature films as: All About Eve (1950, dir. Joseph
L. Mankiewicz); How Green Was My Valley (1941, dir. John Ford); It Happened One Night (1934, dir. Frank Capra); The Night of the
Hunter (1955, dir. Charles Laughton); On the Waterfront (1954, dir. Elia Kazan); Shadow of a Doubt (1943, dir. Alfred Hitchcock);
Shadows (1960, dir. John Cassavetes); The Story of G.I. Joe (1943, dir. William Wellman), among many others. In addition, the
foundation has preserved and restored a diverse range of filmmaking, including independent, documentary and experimental
films, as well as newsreels and other historical films whose titles may not be widely known but whose importance to our film
heritage is no less significant.
For more information on The Film Foundation, please visit www.film-foundation.org.
158
The Story Of Movies
Curriculum Team
Catherine Gourley, writer
Kate Davis, editor
Simian Group, Ron Bruyninckx and Sue Slutzky, design
Phil Savenick, DVD producer
Robert Cipriano and Benjamin Maftoul, DVD editors
Jeff Schick and Doug Machin, Web site programming and development
Jon Gilbert, Web site design
Dr. Arthur Johnson, evaluator
Julia Wayne, project manager
Acknowledgements
Funding provided by IBM Corporation, Turner Classic Movies, Directors Guild of America, The Paul G. Allen Family Foundation,
Driehaus Capital Management, The Nathan Cummings Foundation, Eastman Kodak Company, National Endowment for the Arts, and
Carnegie Corporation of New York
Additional support provided by The BY Foundation, David Brown, Nicolas Cage, Robert DeNiro, Leonardo DiCaprio, Mel Gibson,
Tom Hanks and Rita Wilson, The Heron Foundation, Dustin Hoffman, Norman Jewison, Kathleen Kennedy and Frank Marshall,
Gwyneth Paltrow, Ray of Light Foundation, Julia Roberts, Winona Ryder, Ray Stark, The Wasserman Foundation, The Windfall
Foundation, Margo and Irwin Winkler Foundation
The Film Foundation would like to thank the following for their encouragement and support of The Story of Movies project:
Geoffrey Agnor, Rick Allen, Rae Ann Allora, Michael Apted, Mary Lea Bandy, Martelino Basco, Jack Berckemeyer, Christopher Bickel,
Bloomfield Middle School, Elvira Brcvak, Ada Brown, Jessica Bursi, Linda Burstyn, Julia Cafritz, Dr. Lucio Calzada Jr., Canter Middle
School, Gil Cates, James Catteral, Paolo Cherchi Usai, Jenny Chrest, Mary Christel, Charlie Coates, Elsbeth Collins, Joan Collins,
Donna Consolini, Chris Coppel, Sofia Coppola, Shawn Crowder, Pam Cunningham, Kurt Daugherty, Tom Denove, Directors Guild
of America, Kathleen Dougherty, Robert Duffy, Roxanne Engstrom, Carolyn Epps, Katherine Evans, Suzanne Flynn, David Francis,
Tom Fraser, Fulmore Middle School, Kathy Garmezy, Jay Gilman, Susan Griffin, Mitch Gulbin, Renee Harris, David Harrison, Doug
Herlensky, Renee Hobbs, Vanessa Holtgrewe, Independence Middle School, James Ingman, Marc Jacobs, Karen Jaffe, Suzy Johnson,
Jonathan Karron, Douglas Kellner, Lee Kessler, Timothy Kittleson, Eric Kowal, Doug Machin, Michelle Mahone, Andrea Manganella,
Kortney T. Manns, Richard McDermott, Mark McElhatten, Bill McGuinness, James McPartland, Samelia Miller, National Council of
Social Studies, National Council of Teachers of English, National Middle School Association, Scott Neumann, Angel Ochoa Jr.,
Patricia Pelikan, Patrick Perez, Judy Quarto, Jay D. Roth, Emmanuel Ryan, Dr. Mary Schmidt-Campbell, Eyan Schreibman, Myrl
Schreibman, Justin Schulte, Hugh Scott, Screen Actors Guild, Steve Seid, Armin Shimmerman, Marcia Smith, Jamie Stevens,
Douglass M. Stewart Jr., Lucas Sussman, Jody Sutula, Kitty Swink, Taj Teffaha, Andrea Testa, Edward A. Vittardi, Grace Walters,
Lynn Weiss, Laura J. Welsh, Theresa Renee White, Favian Zavalza, Ruben Zavalza
159
Credits
Advisory Council
Jeanine Basinger, Wesleyan Cinema Archive
Dr. John Belton, Rutgers University
Peter Bogdanovich, filmmaker
Premila Bovie-Ware, Santiago High School
Dr. Susie Burroughs, National Council of Social Studies
Raffaele Donato, Founding Executive Director, The Film Foundation
Dr. Aimee Dorr, UCLA School of Education and Information Studies
Dr. Tom Gunning, University of Chicago
Doug Herbert, National Endowment for the Arts
Tom Karsch, Turner Classic Movies
Marie Kellier, Crossroads Middle School
Josh Matos, Miami Country Day School
Scott Moore, John Simpkins School
Bill Nichols, San Francisco State University
Robert Rosen, UCLA School of Theater, Film and Television
Isabella Rossellini, actor
Jeff Schick, IBM Corporation
Susan Swaim, National Middle School Association
Credits
Teacher’s Guide:
All images from To Kill a Mockingbird (1962) appear courtesy of NBC Universal Studios.
Page vii: Photo by Michael O’Neill.
Page 55: Watson and the Shark, by John Singleton Copley © 1778, The Museum of Fine Arts, Boston.
Page 93: Drinking fountain on county courthouse lawn, Halifax, North Carolina. April 1938/ John Vachon.
Page 95: “A Man was Lynched Yesterday.” Courtesy of Picture History.
Page 96: Map/CNN.
Page 99: “Sorry, But You Have An Incurable Skin Condition” from Herblock: A Cartoonist’s Life (Times Books, 1998).
Page 140: “Pray Keep Moving, Brother” from Herblock: A Cartoonist’s Life (Times Books, 1998).
Student Activity Booklet:
All images from To Kill a Mockingbird (1962) appear courtesy of NBC Universal Studios.
Page 5, 6 and 25: Passages from the screenplay, To Kill a Mockingbird © 1962, NBC Universal Studios. All rights reserved.
Page 25 and 28: Passages from the novel, To Kill a Mockingbird by Harper Lee (1960, renewed 1988). Courtesy of HarperCollins Publishers.
Page 68: Image courtesy of mediacollege.com.
Page 82: “An Oldie but Goody”, Rachel Gordon © 2001, filmcritic.com.
Page 85: Map/CNN
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