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https://oercommons.org/courseware/lesson/102435/overview
|
https://drive.google.com/file/d/1-3N6W6QmAjPhAC2T4eyZ8S00oAT4M7eC/view?usp=drivesdk
https://drive.google.com/file/d/1436EKiIWF4l_1zFZ99VZ6vwcs6kaT9K7/view?usp=drivesdk
https://drive.google.com/file/d/16DG-4M3rnf0o5muIvoeZmG8xmsg_Y9Ex/view?usp=drivesdk
https://drive.google.com/file/d/1EZHbe_dBoZiSyIV3Z6UoMnWz8Stkj6xz/view?usp=drivesdk
https://drive.google.com/file/d/1_gofkR3UODnPKFPAyGip-yIYVFQx57Op/view?usp=drivesdk
https://drive.google.com/file/d/1HljfrGUh1qd9hchXhtoNY9O7Uvtyi01k/view?usp=drivesdk
https://drive.google.com/file/d/1jWZeSHPrw0dqP7XB1Dts8OzarwOdjai9/view?usp=drivesdk
https://drive.google.com/file/d/1LHun0QSQVmZnRCa-BK7ObrEF_akfMIbG/view?usp=drivesdk
https://drive.google.com/file/d/1MR7uoO2-RUJPQqKtVNtxaJv8V9hAp-h7/view?usp=drivesdk
https://drive.google.com/file/d/1oJUTM1O0JL4d99ud0Mue0W85AiCPOiBE/view?usp=drivesdk
Presentations of Skill of Illustration with Examples
Overview
It includes the presentations of the participants of Skill of Illustration with Examples of National level Micro Teaching Competition organised by the joint efforts of IQAC and Teacher Training Practice Committee of National College of Education, sirsa dated on Feburary 17, 2023.
Organising Committee:
- Dr. Punam Miglani (Convener & Principal)
- Mr. Sandeep Kumar Sharma(Coordinator & Assistant Professor)
- Ms. Kusum Lata ( Organising Secretary & Assistant Professor)
Illustration With Example (Team No. 1)
Teching of Mathematics
Team No. 4
Teaching of Science
Team 10
Teaching of English
Team 13
Teaching of Physical Sc.
Team No.18
Teaching of S.St.
Team no. 20
Teaching of Physical Sc.
Team No. 29
Teaching of S.St
Team No. 35
Teaching of
Team No. 37
Teaching of Physical Sc.
Team No. 50
Teaching of English
Team No. 53
Teaching of Science
Team No. 64
Teaching of S.St.
|
oercommons
|
2025-03-18T00:34:21.087699
|
Kusum Lata
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/102435/overview",
"title": "Presentations of Skill of Illustration with Examples",
"author": "Teaching/Learning Strategy"
}
|
https://oercommons.org/courseware/lesson/82398/overview
|
Idioms and Proverbs
IDIOMS AND PROVERBS
IDIOMS AND PROVERBS = DEYİMLER VE ATASÖZLERİ
Overview
This lesson includes a video and document about some idioms and proverbs in English with their Turkish meanings.
Bu ders, Türkçe anlamlarıyla birlikte verilen bazı İngilizce deyim ve atasözlerinin yer aldığı bir video ve belgeden oluşmaktadır.
DEYİMLER VE ATASÖZLERİ DERS PLANI
BÖLÜM 1
DERSİN ADI : İNGİLİZCE
BECERİ-KONU ALANI : DEYİMLER VE ATASÖZLERİ
SINIF: 9-12. SINIFLAR
BÖLÜM 2
AMAÇLAR:
-Türkçedeki bazı deyim ve atasözlerinin İngilizcedeki karşılığını öğrenir.
-Verilen örnek durumlarda bu deyim veya atasözlerini kullanır.
ÖĞRETİM STRATEJİ, YÖNTEM VE TEKNİKLERİ:
-Sunuş Stratejisi
-Soru Cevap Tekniği
-Görsel Hafıza Tekniği
ÖĞRETİM İLKELERİ
-Hayatilik İlkesi
-Açıklık İlkesi
-Öğrenciye Görelik İlkesi
NOT: Uygun deyim ve atasözleri seçilip her gün birer tane olmak üzere ve uygun görsel seçilerek EBA’da oylamaya sunuldu. Oylamanın sonunda, yeni deyim veya atasözü verilmeden önce bir önceki gün paylaşılan deyim veya atasözünün cevabı verilip yeni oylama yapıldı. Son olarak bu deyim ve atasözleri, kullanılan görseller ve cevapları ile birlikte bir video ve pdf’e dönüştürüldü ve tekrardan EBA’da paylaşıldı.
https://www.canva.com/design/DAEKgQ7kpNY/y_6NBNmfhLH06vMHkpprlw/edit
DEYİMLER VE ATASÖZLERİ
This video includes some idioms and proverbs in English with their Turkish meanings.
|
oercommons
|
2025-03-18T00:34:21.117342
|
Lesson
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/82398/overview",
"title": "IDIOMS AND PROVERBS = DEYİMLER VE ATASÖZLERİ",
"author": "Languages"
}
|
https://oercommons.org/courseware/lesson/82657/overview
|
Does Size Matter? Measurements & Nanoscale
Overview
This short mini-lesson is designed to be used by any science instructor teaching the International System of Measurements (SI). It will introduce students to the concept of nanoscale.
Standards
Biology Standards(Indiana): B.2.2, B.5.1, B.5.3
Learning Objectives
Students will classify and catorgorize objects based onsize, including nanoscale.
Students will identify the most commonly used units of measure in Biology.
Materials
10 pictures of items across the SI units scale
Student handout with blanks for drawing items across SI scale and include blanks for SI units that will be used during course.
Procedure
Do Now:
- What is the smallest item you have ever seen?
- What technology can be used to see items that aren’t visible to the naked eye?
- In your own words define nanotechnology and site reference.
Demonstration
Handout pictures of items to 10 students in class and allow them to arrange themselves (with input from class) from largest to smallest. If space allows, draw a size scale on board for student placement. Distribute handouts for all students to draw items on the scale. Discuss the SI units (with examples) that are used for volume, length, mass, temperature, and time while students take notes on the handout.
Introduce nanotechnology using video clip at https://youtu.be/GmUeCf_bI-s
Exit Ticket:
- What is nanotechnology?
- Name 3 applications of nanotechnology?
- What are the standard units of measurement for volume, length, and mass?
Credits
This learning module was created by Nicole Simpsom, a participant in Indiana University-Purdue University’s NSF-Funded “Nanotechnology Experiences for Students and Teachers (NEST)” Program (Award # 1513112).
|
oercommons
|
2025-03-18T00:34:21.136150
|
06/22/2021
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/82657/overview",
"title": "Does Size Matter? Measurements & Nanoscale",
"author": "Integrated Nanosystems Development Institute (INDI)"
}
|
https://oercommons.org/courseware/lesson/108001/overview
|
ROCKET PROPULSION
Overview
The Rocket Propulsion
Rocket Propulsion
Rocket Propulsion
|
oercommons
|
2025-03-18T00:34:21.151998
|
08/26/2023
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/108001/overview",
"title": "ROCKET PROPULSION",
"author": "YAHAYA HASSANI"
}
|
https://oercommons.org/courseware/lesson/114288/overview
|
Dropping seeds from our hearts
Overview
Project to elaborate seed bombs and reforest areas affected by fires or erosion.
Students work collaborativelly to create poems, videos for nature and elaborate seed bombs for reforestation.
|
oercommons
|
2025-03-18T00:34:21.169254
|
03/17/2024
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/114288/overview",
"title": "Dropping seeds from our hearts",
"author": "Claudia Griselda Andrade Serrano"
}
|
https://oercommons.org/courseware/lesson/78690/overview
|
Badge for 70% or higher!
Badge for bringing an item!
Badge for Completing the Test
Badge for Doing the Fun Quizizz
Lesson Plan
Lesson Plan
Magentism PowerPoint Part 2
Magnetism PowerPoint Part 1
Name Picker Website
Quizizz Quiz!
Scavenger Hunt Website
Lesson Plan: Magnetism
Overview
This lesson plan is about magnetism in a Grade 2 classroom! It includes a scavenger hunt around the classroom in the first lesson and a fun quizizz quiz in the second lesson!
Lesson Plan 1
Created by: Danielle Guydash and Callie Kane
The lesson objectives are:
Students will be able to define magnetism, magnets, attraction, and repelling.
Students will be able to identify magnetic objects within their surroundings
Students will be able to determine what types of materials attract and which repel.
Lesson Plan 2
Created by: Danielle Guydash and Callie Kane
The lesson objectives are:
1. Students will be able to differentiate what makes an object magnetic or not.
2. Students will be able to organize magnetic vs. non-magnetic objects into categories.
3. Students will be able to demonstrate their knowledge of magnetism with a quiz.
|
oercommons
|
2025-03-18T00:34:21.190773
|
Assessment
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/78690/overview",
"title": "Lesson Plan: Magnetism",
"author": "Activity/Lab"
}
|
https://oercommons.org/courseware/lesson/104605/overview
|
Card game about ecology
Overview
card game
Card game about ecology
Card game about ecology
|
oercommons
|
2025-03-18T00:34:21.206316
|
06/04/2023
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/104605/overview",
"title": "Card game about ecology",
"author": "Anca Couasnon"
}
|
https://oercommons.org/courseware/lesson/90801/overview
|
Summary of Pride and Prejudice
Overview
Summary of Pride and Prejudice
Pride and Prejudice is one of the earliest works of Jane Austen and one of her most famous novels. The theme of the book is simply "coming of age" because the two main characters are personally growing and realizing their short-comins throughout the story.
The story starts with the coming of Charles Bingley to the village of Longbourn which received with a great interest by villagers, especially Bennet family. Mrs. Bennet wants to marry one of her five daughters with this handsome and wealthy man. Her biggest desire in life is to marry her daughters with prosperous gentlemen in first place. This desire becomes real before long, in a neighborhood ball Mr. Bingley and the eldest daughter of Bennets, Jane falls in love with each other and the second daughter Elizabeth also get acuinted with Mr. Bingley's good friend Mr. Darcy. But their first impressions with each other don't resemble our former couple's. As time passes Ms. Bingley and Mr. Darcy starts to grow a distaste about Jane Bennet's family an wants to separate the couple. Around this time, Elizabeth meets a soldier named Mr. Wickham and hears his tragic story with Mr. Darcy. She then learns that Mr. Darcy has taken steps to hinder Jane's happiness with Mr. Bingley, and Elizabeth's negative feelings and prejudices against Mr. Darcy intensify. Mr. Darcy, unlike Elizabeth, is quite fond of her and after a while, he can't stand it any longer and proposes to Elizabeth. Elizabeth of course refuses this offer.
However, after a while, Elizabeth's mistake is revealed when her youngest sister runs off with Mr. Wickham. Mr. Darcy is not a bad person, contrary to popular belief. Mr. Wickham is a gambler who had tricked Darcy's sister into marrying him. When Elizabeth learns all these facts, she realizes how prejudiced she is, and she begins to like Darcy. The story ends with the two getting married.
|
oercommons
|
2025-03-18T00:34:21.218581
|
03/10/2022
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/90801/overview",
"title": "Summary of Pride and Prejudice",
"author": "Azra Dayı"
}
|
https://oercommons.org/courseware/lesson/82491/overview
|
Kelime Ezberleme Teknikleri
Overview
Kelime ezberleme yöntemleri ile ilgili müthiş ipucuları barındıran powerpoint sunusunu dersinizde öğrencilerinizle paylaşabilir ve dil öğrenirken en çok zorluk çekilen kelime ezberleme yükümlülüğünü çok daha keyifli ve kalıcı hale getirebilirsiniz.
Vocabulary
Kelime ezberleme teknikleri ile ilgili Powerpoint sunusunu indirip dersinizde keyifle kullanabilirsiniz.
You can download Powerpoint Presentation about memorizing vocabulary then you can use in your lesson.
|
oercommons
|
2025-03-18T00:34:21.236242
|
06/17/2021
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/82491/overview",
"title": "Kelime Ezberleme Teknikleri",
"author": "Mehmet Akif HOŞGÖR"
}
|
https://oercommons.org/courseware/lesson/90724/overview
|
A Short Story : Asking for Favors
Overview
This is an extract of Johnsons' daily life who treat kindly no matter what. They are known for forgiving each other and not breaking family members' hearts. Their motto is 'Family is everything.'
-Script-
(See the YouTube link attached)
Beck: Good morning mom!
Lisa: Oh my gosh! What happened here? I can’t believe the mess you’ve made.
Beck: I know. It’s been a long time since I’ve last tidied my room. Lisa: *Could you please* clean up your room in 15? Dad and I will be waiting for you in the kitchen.
Beck: *Would you mind* if I do it after breakfast? I’m starving.
Lisa: Alright.Promise me,just after the breakfast you’ll take care of it.
Beck: Deal.
John: What’s going on? Why do you look so angry?
Lisa: It is Beck again. I can’t bear how messy her room is. *I was wondering if you could* talk to her instead. Apparently she is not listening to me.
John: We’ve all been teenagers.This is how they are but of course I’ll talk to her when I return home.Now I gotta leave,I’m late. Until then,*would it be possible* for you to keep calm?
Lisa: Okey sweetheart,thank you already.See you.
Beck: Where is daddy?
Lisa: He was in a hurry and had to leave in a rush.Come on,let’s have our breakfast.I’ve got something to say.
Beck: Yeah? You were going to say something.
Lisa: Right,the other day Madeline came and asked for a favor.
Madeline: Hey Lisa,sorry for bothering.Jamie has homework but has not much idea how to do it. *I was wondering if Beck would mind helping him* on Sunday.
Lisa: Consider it done! Beck would be pleased to do so.You tell Jamie to be here at 2 pm.
Madeline: I won’t forget that.See you Lisa.
Beck: What!? You’ve made a promise without asking me before? I was planning to go out today. Why am I the last person to hear that?
Lisa: It is my bad. I forgot to tell you. This is why I went so mad about your room. Jamie will come soon.
Beck: Do you happen to know the due time of Jamie’s homework? *Is it okay if* I delay it for today at least?
Lisa: I’m afraid I didn’t ask.
Beck: Okay,okay.Never mind.Now I’ll let my friends know that I’m not going and tidy my room. *Could I ask you not to do such a thing* again before asking me first?
Lisa: Sure,I’m sorry.
Jamie: Hi! I’m not disturbing you,am I?
Lisa: No,of course not.Come on in,help yourself.
Jamie: Thank you but I’m here to tell you that I managed to do my homework.Please thank Beck for me.
Lisa: Oh really? Congrats! I will.
Beck: Jamie is not here yet?
Lisa: Today is your lucky day. He said he did it himself. You are free to go.
Beck: It’s been a little bit late.Can I leave still? Lisa: Yes,that is my compensation.
Beck: See you then!
John: Hey! Where are you coming from at this time at the night?
Beck: Mom allowed me to go out tonight. You better talk to her.
John: Lisa! What does that mean now? It’s almost midnight. How come you let her go out before letting me know? Lisa: Seems like it’s not my lucky day. Everyone gets angry with me. It was for once.
John: I just felt nervous. Don’t bother your pretty little head.*Could you just possibly* tell me the next time?
Lisa: Of course.
|
oercommons
|
2025-03-18T00:34:21.256499
|
Reading
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/90724/overview",
"title": "A Short Story : Asking for Favors",
"author": "Interactive"
}
|
https://oercommons.org/courseware/lesson/91903/overview
|
OER Part 2
Overview
For this resource, you will be asking the question of "How can we use science fiction's ability to predict the future to help humanity?"
OER Part 2
How can we use science fiction’s ability to predict the future to help humanity? |
Subject: English Language Arts (ELA) |
Grade Level: Grade 9 - 12 |
CCSS.ELA-LITERACY.RI.9-10.8 Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning. CCSS.ELA-LITERACY.RI.9-10.7 Analyze various accounts of a subject told in different mediums (e.g., a person's life story in both print and multimedia), determining which details are emphasized in each account. CCSS.ELA-Literacy.RI.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. CCSS.ELA-LITERACY.RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the Standards: text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. WA EdTech/ISTE Student Standards Empowered Learner Students leverage technology to take an active role in choosing, achieving and demonstrating competency in their learning goals, informed by the learning sciences. 1c. Students use technology to seek feedback that informs and improves their practice and to demonstrate their learning in a variety of ways. Digital Citizen 2.c. Students demonstrate an understanding of and respect for the rights and obligations of using and sharing intellectual property. |
Essential Question How can we use science fiction’s ability to predict the future to help humanity? |
Supportive What predictions of future development has science fiction accurately made in the past? This can Questions 1 include technology, privacy, medicine, social justice, political, environmental, education, and economic. |
Supportive What predictions for future development in contemporary science fiction are positive for the future of Question 2 humanity? What factors need to begin in your lifetime to make these predictions reality? |
Supportive What predictions for future development in contemporary science fiction are negative for the future of Question 3 humanity? What factors need to begin in your lifetime to stop these negative outcomes? |
Instructional Strategies • Accountability Talk |
• I can close read and document. • I can identify supportive details in books, articles, videos and other types of documents to support my argument. • I can differentiate between fact and opinion Learning Targets: • In a document, I can identify who is behind the information, the evidence to support the authors claim, and corroborate the authors claim with other reliable sources. • I can read for enjoyment and personal interest. • I can utilize technology to improve my practices and support my unique learning needs. |
In large group discussion, teacher asks students “What do Frankenstein, 20,000 Leagues Set/Hook: Under the Sea, Ender’s Game, and Ready Player One all have in common?” |
Give students at least one minute to “Think-Time”. Then have them turn to their elbow partner and discuss the commonalities of books and movies. Once students have had opportunity to share with each other, go around the room and debrief. Anticipated Student Response: These are all Science Fiction novels. Next, ask what are the elements of science fiction literature? You can use the chart from Legends of Windemere to break down the similarities, differences, and overlaps between fantasy and science fiction. This is the big take away: Science Fiction is fiction based on a prediction of what may be possible using current knowledge. |
• Collection of science fiction novels for students to read. Students should have free choice over the science fiction novel they choose. Both print and eBooks from First Books (Instructions at bottom of this lesson plan) will be available for CV students. They will have a collection of over 107 different titles to choose from. Materials: • Learning Management System (LMS) to manage instructional resources, student work, small & large group work, and teacher to student feedback. • Digital devices (tablets, iPads, Laptops with camera, or smartphones) for students to post Flips and read picture books. |
Lesson This lesson is designed for grade 9 ELA course reading science fiction while concurrently Background studying media literacy. |
Supportive Questions 1: What predictions of future development has science fiction accurately made in the past? This can include technology, medicine, political, environmental, education, and economic.
Day 1: 50 min | Activity | Material |
20 minutes | The Teacher Will (TTW): Post the Essential Question & Supportive Question 1 on the board or anchor chart, or virtually as a header or section in your LMS. These will stay up during this entire inquiry unit of study: • How can we use science fiction’s ability to predict the future to help humanity? • What predictions of future development has science fiction accurately made in the past? The teacher will have students watch these videos, either in class or remotely: Can Science Fiction Predict the Future? (Time 5:21 from TedED) When Science FICTION Becomes Science FACT! (Time: 8:22 from PBS It’s Okay to be Smart) The Students Will (TSW): watch both these videos and collect information to support their answer for supportive question 1. Teachers: You may want to set up a note catcher or document in your LMS to collect this information. | Click on video image to play. |
15 minutes | TTW: Post the following article to LMS Why Science Fiction is Necessary for Our Survival in the Future TSW: Do a cold read of this document. (8-10 minutes) TTW: Show the class the video “How to Do a Close Read” from the Eberly Writing Center (time 4:21). The video covers how to conduct a close reading of informational text. Tell the student they are going to learn how to “Close Read”. Inform them they will be using these techniques in the next part of today’s lesson. | |
10-15 minutes | TTW: Ask class to Close read the article again using any of the techniques used in the video. If students are reading this article digitally, you will want to assign the article to each student so they can use highlighting and comment features to annotate the article. TSW: Annotate article using Close reading techniques and collect evidence from the article that speaks to the supportive question in their Note Catcher. TTW: Let students know that they need at least five supportive details to in their note catcher as their exit ticket out of class. |
|
Day 2: 50 min | Activity | Material |
25 minutes | TTW: Set up a Padlet “Shelf” at Padlet.com. Make sure you enable student comments. Title of Board: What predictions of future development has science fiction accurately made in the past? Categories for each “Shelf”: technology, social justice, medicine, political, environmental, privacy, education, and economics Feel free to add any others your students might have found. Make sure you get the link to this Padlet. You will need to share this with your students through your LMS. If you are teaching this lesson with multiple classes, you will need to decide if you want a separate board per block. TSW: Using their notes from the previous day, students will create posts under each corresponding category in Padlet. | Padlet.com |
10 minutes | TTW: Introduce the class to Accountability Talk. Post this document in their LMS. Go through the statement stems and explain that when we give feedback in class or on-line, we will use these protocols to assure constructive communication with each other. They may use text, images, and URL that take students to further evidence. TSW: Provide constructive feedback on at least three student posts in Padlet. |
|
TTW: Tell students to search the web for information, supportive details,
images, etc. to support their posts. Have them add this content (URL,
images, video, etc.) to their original posts.
15 minutes
This task will see if any of them cite their sources in their posts, verify the sources they are using, and the overall quality of the supportive content they present. This will give you an idea of how and where your students
| are getting their information. Don’t be surprised is it is mostly the top three responses from a Google Search! Therefore, we are having them do this. Let this happen organically. Don’t frontload this activity with instructions on how to research or where to look for creditable sources. This is an inquiry activity and failure is part of student growth. TSW: Use any resources available to them on the web to support their claims on their Padlet posts. |
|
Supportive Question 2 | What predictions for future development in contemporary science fiction are positive for the future of humanity? What factors need to begin in your lifetime to make these predictions reality? | |
Day 3. 50 Min. | Activity | Material |
40 min. | TTW: Add Supportive Question 2 to the board, anchor chart, or section on the LMS. Have student access codes ready for Open eBooks from First Books. Instructions to access this resource are available at the end of this document. It you are a teacher at CVHS, ask the librarian for the access code. Each code is good for five devices, so students are encouraged to share these codes with family to encourage reading. You will also want to have access to science fiction print novels, if school is meeting in-person. To expose students these books, ask your librarian to do a book talk, show book trailers from the web, or have readers in your classes give talks about some of the sci-fi they have read. Ultimately, you need to give your students time to book-shop. You also want to give them some guidance about a good fit pick. Have them use the five-finger test for the book. Have them open the book to any page and begin reading. For every error they make, have then put a finger up. If they get to five errors before the page is done, the book is too difficult. It they make no errors; the book is not to easy for them. If they make 2-3 errors per page, the book is a good-fit pick. TSW: Select a science fiction book to read. Students will have 2-3 weeks to read their selections. Give students at least 15-minutes of sustained silent reading each day to read in class. | CVHS Science Fiction Book List of Print and eBooks. |
10 min. | TSW: Read their books. They will take notes and add comments to their note catcher with information from their book that relates to the essential and supportive questions. |
|
Day 4. 50 Min. | Activity | Material |
| TTW: Have students view both videos on how to evaluate sources and find better information while online. How to Find Better Information Online: Click Restraint (Stanford Civic Online Reasoning, time: 2:19) Sort Fact from Fiction Online with Lateral Reading (Stanford Civic Online Reasoning, time: 3:47) TSW: Watch Videos. Then apply what they have learned by searching for articles relating to the essential and supporting questions. TTW: If you have not already done so, this is a great opportunity to introduce the county library digital library. Directing students to these databases can have a huge impact on their research skills later. For CVHS students, preview these two videos for more information: | Click video image to watch. |
Accessibility & Differentiation Feedback/Assessment
• Pair hi/lo readers together. • Don’t score on spelling • Allow low readers advanced opportunity to select their picture book and take home to read a day or two before the lesson. • For Spanish speaking ELD students, there is a large collection of Spanish language picture books available at Open eBooks. | Students will write a five-paragraph essay answering the essential question: How can we use science fiction’s ability to predict the future to help humanity? |
Join First Books to Access Open eBooks |
Step 1. Join First Book
First Book is a non-profit social enterprise that provides new books and educational resources - for free to schools and programs serving children, ages 0-18. Click here join to for free!
https://www.fbmarketplace.org/register/
Step 2. Order Open eBook Access Codes
The Open eBooks app will give kids & families access to a digital library of thousands of popular and award-winning children’s and YA eBooks for free! To access Open eBooks collections, you need to request access codes. Go to https://www.fbmarketplace.org/openebooks/ then scroll down to the Open eBook collections. You can order access codes for every student in your classroom or school, but you cannot order more than 500 total access codes in one “purchase”. For this lesson, you will want the Elementary Collection, but also order the middle and high school collections for your students. You can send codes and PINs home with your students, using the downloadable instructions, and write one code and PIN combination on each copy.
|
oercommons
|
2025-03-18T00:34:21.338595
|
04/18/2022
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/91903/overview",
"title": "OER Part 2",
"author": "Ruth Thacker"
}
|
https://oercommons.org/courseware/lesson/85937/overview
|
Classification of chromatographic methods
Overview
This infograph gives you the detailed information on classification of chromatographic methods.
Chromatographic methods had 3 main types that is based on stationary, stationary phase format & mobile phase.
|
oercommons
|
2025-03-18T00:34:21.351162
|
Ikra Suhail Ahmed
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/85937/overview",
"title": "Classification of chromatographic methods",
"author": "Diagram/Illustration"
}
|
https://oercommons.org/courseware/lesson/106442/overview
|
Education Standards
How to be Safe on the Internet
Poem
Rings of Responsibility
Why Digital Literacy Matters
Digital Citizenship Lesson
Overview
Let's learn how to be a good digital citizen.
Digital Citizenship
Explain to students what Digital Citizenship is and tell them the six key concepts.
Digital citizenship refers to the responsible use of technology by anyone who uses computers, the Internet, and digital devices to engage with society on any level. Good digital citizenship engages young students and shows them how to connect with one another, empathize with each other, and create lasting relationships through digital tools. Bad digital citizenship, on the other hand, entails cyberbullying, irresponsible social media usage, and a general lack of knowledge about how to safely use the Internet.
There are six key concepts to understand about digital citizenship:
- media balance and well-being
- privacy and security
- digital footprint and identity
- relationships and communications
- cyberbullying, digital drama, and hate speech
- news and media literacy
Rings of Responsibility
Teaching digital citizenship is all about helping kids think beyond themselves and recognize the ripple effects of their actions. Personal responsibility is important, but understanding their responsibilities to others can help kids unlock new ways to learn and connect with their communities -- and even change those communities for the better.
Play the video for students and discuss with them.
Exploring the Internet
Let's explore some websites and see if they are a "good fit" for you. They are linked on the Google Doc. Give this website a thumbs up if it is a good fit for you. If it is NOT a good fit, give it a thumbs down and write a note telling us why it's not a good fit!
|
oercommons
|
2025-03-18T00:34:21.378024
|
07/07/2023
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/106442/overview",
"title": "Digital Citizenship Lesson",
"author": "Courtney Frost"
}
|
https://oercommons.org/courseware/lesson/84345/overview
|
"Misinformation about the health system in Colombia”
Overview
Misinformation is one of the most warming issues when refering to how health system works. Moreover, based on CBI and using skill integration, students are going to be able to understand basic facts about healthcare.
- Paula Catherine Gómez Parra - 20182172670
- Laura Karina Becerra Rodríguez - 20182171307
- María Valentina Urriago Cárdenas - 20182173199
- Luisa Fernanda Caicedo Tintinago - 20182171505
- Ángeles Cruz Supelano - 20182173882
- Yesenia Rojas Castillo - 20182171246
LESSON AIMS:
Unit aim
- Create awareness in students from 10 to 11 grade about the health system in Colombia
Lesson aims
- To define the difference between “Empresa Prestadora De Servicios” (EPS) and “Institución Prestadora De Servicios” (IPS)
- To instruct students in the medical appointment processes.
- To teach students how to deal with health insurance.
SKILLS FOCUS:
- READING
- WRITING
- SPEAKING
- LISTENING
FORESEEABLE PROBLEMS:
- Students could spend too much time when creating a Tik Tok account.
- Students are not familiar with "Gartic phone" app.
- Students might have problems using the Tik Tok app because some of them don't know how to use it.
- There are going to be students that probably don't have a good internet connection, and the Tik Tok app requires a good internet connection to use it.
PLAN SOLUTIONS
- Tell students to create the account in advance.
- Teachers will make a tutorial in order to explain the 'Gartic Phone' and 'Tik Tok' app.
- To announce in advance that some apps will require a good internet connection, so they can be prepared. If it is impossible to get good internet, the screen will be shared so that they can participate by watching their partner's work.
Ice Breaking!
The students will be divided into 6 groups to work in the “gartic phone” activity. They need to type a sentence about a possible scenery in a (hospital, EPS, IPS…). Once all the students are done with the sentences, they will start to draw and guess their partners’ sentences.
Post - Assignment
In this final part, the professor will choose some students randomly. Those students will share with the class what aspects they found most interesting in the class. By answering the next question:
- Do you think this information could be useful in your life?
ASSIGNMENT:
Students are going to do the following test in Schoology:
While.
Do you know which one is your EPS?
Write about one positive or negative experience you have had with your Health Provider (No more than 50 words).
Link: Negative and positive experiences.
EPS and IPS.
2. In this part, the teacher will show a video from Tik Tok about the difference between EPS and IPS. This video has the aim of introducing students into the basic concepts of the health system in Colombia.
Health system information
3. Students are going to create a video performing a daily life situation using Tik Tok. The situation will be:
a) To perform a medical appointment with a specialist doctor (surgeon, neurosurgeon, anesthesiologist...)
4. Last activity: The teacher will present some different scenarios where people make use of their health insurance:
An underage boy.
An elder man.
A pregnant woman.
A businessman.
An unemployed woman.
--
- Young girl: https://tinyurl.com/yk5adp9g
- Unemployed woman: https://tinyurl.com/yjfvjg8m
- Pregnant woman: https://tinyurl.com/yhn3zc8h
|
oercommons
|
2025-03-18T00:34:21.406132
|
Luisa Caicedo T.
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/84345/overview",
"title": "\"Misinformation about the health system in Colombia”",
"author": "Yesenia Rojas Castillo"
}
|
https://oercommons.org/courseware/lesson/101637/overview
|
Education Standards
AOTC Posters
Legacy Washington Ahead of the Curve Website
Online Exhibit
Legacy Washington: Ahead of the Curve
Overview
Washington has been Ahead of the Curve since it first granted women the right to vote in 1883. In 1910 our state became the fifth to include women's suffrage in its constitution — a decade ahead of the nation. And Washington women keep blazing trails in fields from science to bridge building. This video, online exhibit, lesson plan, and poster set from Legacy Washington at the Washington Office of Secretary of State highlights some of these extraordinary women.
Women of Washington Leading the Way
Explore this video and set of online profiles highlighting the pioneering spirit of some larger-than-life women and little-known stories with big impacts on Washington, the nation, and beyond.
Visit the Ahead of the Curve Online Exhibit from the Legacy Washington program at the Washington Office of Secretary of State
Lesson plans designed to engage middle and high school students before, during, and after visiting the online exhibit are attached below. The lesson plans follow the inquiry arc as outlined in the College, Career, Civic Life (C3) Framework for Social Studies State Standards and are common core aligned (Washington State standards) to challenge students in essential reading, writing, speaking and listening skills.
Thirteen posters from the exhibit are also attached below and available for download and display.
Attribution and License
Legacy Washington documents extraordinary stories in Washington history. The collaborative venture, spearheaded by Secretary of State Steve Hobbs, relies on original sources at the Washington State Library, the Washington State Archives and heritage organizations across the state. The work of Legacy Washington can be found in libraries around the country and museums of Washington.
Most of the information on the Legacy Washington at the Washington Office of Secretary of State web site.site is in the public domain. The site may contain text, artwork, photos or other content that is copyrighted by others and is being used with the express permission of the copyright holder.
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oercommons
|
2025-03-18T00:34:21.431293
|
Lesson Plan
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/101637/overview",
"title": "Legacy Washington: Ahead of the Curve",
"author": "Diagram/Illustration"
}
|
https://oercommons.org/courseware/lesson/84461/overview
|
Education Standards
Timeline of CS
What is HTML/CSS
What is Programming
ML Introducing Computer Science
Overview
This is an introductory lesson introducing what computer science is and what some of the topics are that we will cover in their Intro to CS and Web Design Course.
Hook- Computer Science Interests
Students- Stand up!
Find one or two people in the room that share a similar hobby or favorite pass time as you. Some examples might be TikTok, video games, reading, YouTube, etc.
Once students are in groups I will divide them into two groups based on their hobby or pass time. One group for computer science-related and the other for non-computer science-related.
I will open the floor for suggestions about why I grouped them this way.
I’m expecting them to make a connection to one half being technology-related and the other half non. I will ask probing questions to help them form the connection that these were developed or used using computer science in some way and the others were not.
I am expecting students to be shocked by the percentage that are around because of computer science.
CS Video
Ask students:
“What surprised you about this video?”
“What might be a definition of computer science?”
Gallery Walk
These are the articles I found for the current environment I will be teaching in. Feel free to adjust topics and articles based on your course priorities or as information becomes more updated.
When I say “move”, get into groups of 3 and pick one of the posters on the walls to move to. You will have 5 minutes to read the poster and summarize the key points. When the timer goes off, be ready to share your key points with the class.
How many people should be in each group?
What are you going to share with the class?
Go ahead and say move. On each wall in the classroom, I will have a short article posted explaining each of these 4 key topics.
-History of CS
-Problem Solving Process in Computers
-HTLM/CSS
-Programming
nce back in there seats, ask the following questions:
What are examples of frequently used tools or items that have been developed with computer science?
What do you think will happen to the future of computer science jobs and techniques?
I will explain that these are all computer science topics that we will explore in this course.
After the final rotation, ask students to go back to the seat.
Exit Ticket
To evaluate how well the students are understanding the topic, I will pay attention to their key point observations from the gallery walk as well as their responses to the questions following the gallery walk.
As an exit ticket, I will ask students to come up with a brief definition of computer science and write it on a sticky note before they leave class. This will give me a more formal way to check what they took from the lesson.
|
oercommons
|
2025-03-18T00:34:21.458304
|
08/03/2021
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/84461/overview",
"title": "ML Introducing Computer Science",
"author": "Abi Ludwig"
}
|
https://oercommons.org/courseware/lesson/83504/overview
|
Fuel Cell Car: Use Water for Energy! A lesson in Cell Respiration, Energy Flow, Photosynthesis
Overview
This lesson will expose Biology students to mechanisms of energy by using a wind turbine demonstration and a fuel cell car student lab. Fuel Cell kits will need to be purchased for this activity.
Standards
Biology Standards:
HS-LS1-2. Develop and use a model to illustrate the hierarchical organization of interacting systems that provide specific functions within multicellular organisms
HS-LS1-7. Use a model to illustrate that cellular respiration is a chemical process whereby the bonds of food molecules and oxygen molecules are broken and the bonds in new compounds are formed resulting in a net transfer of energy
HS-LS1-5. Use a model to illustrate how photosynthesis transforms light energy into stored chemical energy.
Learning Objectives
Students learn that semi-permeable membranes (with NanoScale pores and holes) and compartments are key structural components for harnessing energy in technology devices and in cells.
Students learn that energy can be found in unexpected places, in everyday objects, however, it requires sophisticated engineering to make it useable.
Procedure
Bellwork writing prompt: What are the different ways that humans harness energy from water? Do you think that water gives humans energy? Do cells use water for energy? Explain your answer. |
Demo: Handheld Windmill turbine lighting up LED with class discuss
|
Fuel Cell 10 Car Activity to learn about energy, compartments, semi-permeable membranes…
|
Exit ticket: Write out two things that you think you understood about the fuel cell technology. What do you not understand? |
Credits
This learning module was created by Erik P, a participant in Indiana University-Purdue University’s NSF-Funded “Nanotechnology Experiences for Students and Teachers (NEST)” Program (Award # 1513112).
|
oercommons
|
2025-03-18T00:34:21.478614
|
07/13/2021
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/83504/overview",
"title": "Fuel Cell Car: Use Water for Energy! A lesson in Cell Respiration, Energy Flow, Photosynthesis",
"author": "Integrated Nanosystems Development Institute (INDI)"
}
|
https://oercommons.org/courseware/lesson/82450/overview
|
Making a request ders plani
MAKING A REQUEST= RİCADA BULUNMA
Overview
This lesson focuses on a grammatical rule " Making a request ". There are two documents ; one includes a lesson plan while the other one explains the grammatical rule mentioned above.
Bu ders "Ricada Bulunma " dil bilgisi kuralını açıklamaya odaklanır. İki belgeden oluşmaktadır ; biri ders planını içerirken diğer belge yukarıda bahsedilen dil bilgisi kuralını açıklamaktadır.
Ricada Bulunma Ders Planı
BÖLÜM 1
DERSİN ADI : İNGİLİZCE
BECERİ-KONU ALANI : MAKING A REQUEST
SINIF: 12. SINIF
BÖLÜM 2
AMAÇLAR:
-Ricada bulunma kalıplarının İngilizcedeki karşılıklarını bilir.
-Ricada bulunurken verilen kalıpları kullanır.
ÖĞRETİM STRATEJİ, YÖNTEM VE TEKNİKLERİ:
-Sunuş Stratejisi
-Soru Cevap Tekniği
ÖĞRETİM İLKELERİ
-Hedefe Uygunluk İlkesi
-Hayatilik İlkesi
-Açıklık İlkesi
-Öğrenciye Görelik İlkesi
NOT: Ricada bulunma konusu bir Word dosyası hazırlanarak canlı derste öğrencilere anlatıldı. Konu anlatımı bittikten sonra alıştırma soruları cevaplandı. Konuyu tekrar etmeleri amacıyla Word dosyası EBA’dan öğrencilerle paylaşıldı.
Ricada Bulunma Konu Anlatımı
MAKING A REQUEST: RİCADA BULUNMA |
İngilizce'de rica cümleleri birden farklı şekilde yapılabilmektedir. Bu cümleleri farklı açılardan gruplara ayırmak mümkündür. Genel olarak '' I '' ve '' You '' özneleri kullanılarak rica cümleleri oluşturulmaktadır.
A) Öncelikle '' I '' öznesi ile kurulan rica yapılarını inceleyelim.
May I sit here ? / Buraya oturabilir miyim?
May I open the window? / Camı açabilir miyim?
Could I sit here? / Buraya oturabilir miyim?
Could I borrow some money ? / Biraz borç para alabilir miyim?
Can I sit here? / Buraya oturabilir miyim?
Can I turn off the light? / Işığı kapatabilir miyim?
Yukarıdaki cümlelerde '' May , Could '' daha nazik bir ifade şeklidir. '' Can '' ise daha samimi ortamlar ve kişiler söz konusu olduğunda kullanılır.Ek bilgi olarak ;
'' Might I '' İngiliz İngilizcesinde çok resmi ortamlarda ricada bulunurken kullanılır. Onun dışında '' Might I '' rica anlamında başka durumlarda pek kullanılmaz.
Excuse me, might I see your identity ? / Affedersiniz, kimliğinizi görebilir miyim?
B) '' You '' öznesi ile kurulan rica cümleleri aşağıdaki gibidir.
Could you help me ? / Bana yardım edebilir misin?
Could you lend me your book ? / Bana kitabını ödünç verebilir misin?
Would you help me ? / Bana yardım edebilir misin?
Would you come with me ? / Benimle gelebilir misin?
Will you help me ? / Bana yardım edebilir misin?
Will you give some information ? / Bana biraz bilgi verebilir misin?
Can you help me? / Bana yardım edebilir misin?
Can you close the door? / Kapıyı kapatabilir misin?
Muhtemel olumlu cevaplar olarak ; Yes, of course. Yes, I'd. Certainly. Yes, certainly. I would be happy. Sure.
Muhtemel olumsuz cevaplar olarak ; Sorry. Sorry, I can't. I am afraid, I can't.
Yukarıdaki cümlelerde '' Could, Would '' resmiyet ve nezaket gerektiren durumlarda kullanılır.
'' Will '' de resmiyet ve nezaket gerektiren durumlarda kullanılır. Ancak diğerlerine göre daha kesin ve net bir ifade belirtir.Bazen de öfke, sinir ve sabırsızlığın olduğu durumlarda da kullanılabilir.
'' Can '' ise samimiyetin olduğu ortamlarda kullanılır.
C) '' Would you mind........ / Would you mind if...........'' yine oldukça fazla kullanılan bir diğer rica yapısıdır. Bu yapı aşağıdaki durumlarda kullanılır.
1. '' Would you mind + Verb +( Fiil ) + ing...... '' Bu yapıyı kullandığımız zaman karşımızdaki kişiye '' ...yapmanızın sizin için sakıncası var mı? '' anlamında bir ricada bulunuyoruz demektir. Yani karşı taraftan bir şey yapmasının sakıncası olup olmadığını soruyoruz demektir.
Would you mind opening the window? / Pencereyi açmanızın size bir sakıncası var mı?
Would you mind helping me ? / Bana yardım etmenizin sizin için bir sakıncası var mı?
Would you mind speaking a bit louder ? / Biraz yüksek sesle konuşmanızın sizin için sakıncası var mı?
2. '' Would you mind if I Verb2 ( Fiilin 2. hali )..... '' Bu yapı ise '' benim ( yapmamın ) sizin için bir sakıncası var mı? '' anlamındadır. Yani bir şey yapmamızın karşımızdaki için bir sakınca oluşturup, oluşturmadığını soruyoruz demektir. Burada fiilin 2. hali yani Past formunu kullanmamıza rağmen anlam Geniş Zamandadır.
Would you mind if I smoked here? / Burada sigara içmemin sizin için bir sakıncası var mı?
Would you mind if I opened the window ? / Camı açmamın bir sakıncası var mı?
Would you mind if I came at home late? / Eve geç gelmemin bir sakıncası var mı?
Bu yapılarda dikkat edilmesi gereken en önemli nokta cevap verirken kullanılan ifadelerdir. Eğer yukarıdaki rica cümlelerine
'' Yes '' ile yanıt verirsek; '' Evet, benim için bir sakıncası var '' anlamı çıkar. Böyle bir durumda da nazikçe red etme sebebini belirtmemiz gerekir.
'' No '' ile yanıt verirsek '' Hayır, benim için bir sakıncası yok '' anlamı çıkar. Dolayısıyla karşımızdaki kişiye izin verecek isek cümleye '' No '' ile başlamalıyız.
Would you mind opening the window ? / Pencereyi açmanızın sizin için sakıncası var mı?
Yes, I am a bit cold. / Evet, biraz üşütmüşüm.
No, of course not. / Hayır, tabiki yok.
Would you mind if I took your pen? / Kalemini almamın bir sakıncası var mı?
Well actually, I need it for my homework. / Aslında, ödevim için ona ihtiyacım var.
No, not at all. You can. / Hayır,önemli değil. Alabilirsin.
3. Son olarak ise daha samimi ortamlarda '' Do you mind if I / Does anyone mind if I ( Simple Present Tense : Geniş Zaman )... '' kalıbı kullanlır.
Do you mind if I use your dictionary? / Sözlüğünü kullanmamın senin için bir sakıncası var mı?
No, of course not. / Hayır, tabiki yok.
Do you mind if I sit next to you ? / Yanına oturmamın senin için bir sakıncası var mı?
No, of course not. You can. / Hayır, tabiki oturabilirsin.
Does anyone mind if I open the door? / Kapıyı açmamın sizce bir sakıncası var mı ?
Does anyone mind if I sleep early tonight? / Bu gece erken uyumamın sizce bir sakıncası var mı?
EXERCISE A : Fill in the gaps with the words and phrases from the box.
would you mind if / here you are / do you mind if / thanks
could you / could you lend / go ahead / what’s the problem
1. Jane : Yeah?
Susan : ___________________turn down the music, please? It’s nearly midnight and I’m trying to sleep.
Jane Oh, I’m so sorry. Is it better now?
Susan : Yes, _______________________________Maybe, I can sleep now. Good night.
2. Samuel : I’m sorry, ________________________________ I left early today?
Manager : Of course not, is there a problem?
Samuel : I’m going to drive my mother to the airport.
Manager Oh, I see. Sure, ____________________________________.
3. Tim : Andrew, do you have some change with you?
Andrew : Um... yes. Why?
Tim : ___________________ me some, please? I forgot my wallet in the classroom.
Andrew : OK, ______________________________________.
4. Kim : ________________________________ I change my seat, Sir?
Teacher : No, not at all. ____________________________________?
Kim : I can’t see because of the sun.
Teacher : OK, then. Why don’t you sit next to Jenny?
B. Match the requests with their appropriate responds.
1. Can I have a glass of water? A. Yes of course. About what?
2. Do you mind if I make a phone call? B. Oh, sorry, I said it costs 15 dollars.
3. Could you repeat that, please? C. Well, not really. Why can’t you come?
4. Could I speak to you for a moment? D. Of course, there’s a bottle on the table.
5. Would you mind if I looked at your books? E. I suppose so. But I need it back before Friday.
6. Is it OK if I don’t join your party tomorrow? F. Not really. You can borrow some if you want.
7. Could you move over, please? G. No, that’s all right if it’s a local call.
8. Could you lend me 20 $, please? H. I’m sorry, I’m not from around here.
9. Do you mind if I turn up the volume? I. No, not at all. The remote control’s here.
10. Can I come round to your house after school? J. Yes, sorry. I didn’t realise you wanted to sit down.
11. Could you tell me where the nearest bank is, please K. My mum’s not feeling well. Maybe another time.
|
oercommons
|
2025-03-18T00:34:21.552479
|
Lecture Notes
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/82450/overview",
"title": "MAKING A REQUEST= RİCADA BULUNMA",
"author": "Languages"
}
|
https://oercommons.org/courseware/lesson/96161/overview
|
Bécassine
Bécassine voyage
Ecoutez-moi___par_Benjamin_Rabier__bpt6k6514006d
"Family Secrets" Tisseron
Humour et clichés dans Les Bijoux de la Castafiore d'Hergé
Humour et clichés dans L'Ile noire d'Hergé
Juifs et Musulmans en Algérie pendant la colonisation française
La bd francophone années 1938-1960
La BD historique française
La dernière case
L'enfance de Bécassine
Les Schtroumpfs noirs de Célia Sadai
Lexique et Concepts Fondamentaux - exercice 1
Lexique et Concepts Fondamentaux - exercice 2
L'invention de la bande dessinée
onomatopées
planche-bd-la-famille-fenouillard
Pronoms
Sexualisation. féminine bd 1960
Töpffer
QA4U -- Bandes dessinées francophones
Overview
test francophone lti1.0
Bienvenue!
[Photo by Steven Lasry on Unsplash]
Bienvenue sur le site Bandes dessinées francophones!
This text is meant to teach upper intermediate students of French as a second language about Francophone comic books while working on intermediate and advanced level language skills.
Dr. Martine Motard-Noar, Professor of French
McDaniel College
Westminster, Maryland
Introduction
While many of these bandes dessinées can be downloaded or read online, we strongly suggest that instructors require students to purchase these comic books and clearly explain to students why cultural products are valuable and deserve to be protected by copyright laws. Additionally, this workbook can be used in conjunction with an online reference French grammar if the class is taught at the upper intermediate level.
This book is intended for use at the upper intermediate or early advanced undergraduate level in French. This textbook is written in French at a level that is appropriate for the students. The number and variety of bandes dessinées studied in this book as well as the interactive nature of the activities should allow instructors to tailor the timing and choice of texts to the level of their students and the number of weeks at hand. In this way, this textbook is closer to a workbook than to a traditional textbook. Its goal is to introduce students to the close reading of comic books while exploring the history and the techniques of the genre. Bandes dessinées francophones follows a chronological order which also moves students, in a gradual way, to more sophisticated comic styles as well as stylistic styles and cultural complexity. This workbook is to be used in conjunction with a few comic books and graphic novels chosen by the instructor among the ones studied in this proposed manuscript.
Table des matières
Introduction
Bienvenue!
Table des matières [section 3]
Lexique et concepts fondamentaux [section 4]
CHAPITRE 1 - L'origine de la bande dessinée [section 5]
CHAPITRE 2 - Rodolphe Töpffer, l'inventeur de la bande dessinée ? [section 6]
CHAPITRE 3 - Bécassine (1905-1962) de Jacqueline Rivière (puis Caumery) et Émile Pinchon [section 7]
CHAPITRE 4 - Les aventures de Tintin d'Hergé [section 8]
CHAPITRE 5 - Les Schtroumpfs noirs de Peyo (1963) [section 9]
CHAPITRE 6 - Astérix légionnaire (1967) de Goscinny et Uderzo [section 10]
CHAPITRE 7 - Monopoles, influences étrangères ou coloniales et questions budgétaires [section 11]
CHAPITRE 8 - Les Frustrés de Claire Bretécher (1975-1980) Ciboire de Criss ! de Julie Doucet (1996) et [section 12]
CHAPITRE 9 - Le chat du rabbin: La Bar-Mitsva (2002) de Joann Sfar [section 13]
CHAPITRE 10 - Poulet aux prunes (2004) de Marjane Satrapi [section 14]
CHAPITRE 11 - Aya de Yopougon (2005) de Marguerite Abouet et Clément Oubrerie [section 15]
CHAPITRE 12 - Moi René Tardi, prisonnier de guerre au Stalag IIB (tome 1; 2012) de Tardi [section 16]
Conclusion et ouverture [section 17]
Liste d'onomatopées en français [section 18]
Bibliographie [section 17]
Lexique et concepts fondamentaux
LEXIQUE ET CONCEPTS FONDAMENTAUX
DE LA BANDE DESSINÉE
VOCABULAIRE
Voici les termes importants pour parler de la structure de la page en bande dessinée. Regardez la page suivante pour voir le chiffre correspondant et identifier chaque élément :
- une planche : la page en bande dessinée. Elle est composée de plusieurs bandes.
- un cadre : un trait noir, en général, qui entoure une image
- une bande ou un strip: la succession horizontale de plusieurs cases ou vignettes. Trois ou quatre bandes forment souvent une planche
- une case ou une vignette : une image (en général un carré ou un rectangle) d’une bande dessinée délimitée par un cadre.
- une bulle ou un phylactère : forme variable qui, dans une case, contient les paroles ou les pensées des personnages reproduites au style direct.
- un appendice : il permet d’identifier le locuteur. Il prend souvent la forme d’une flèche pour les paroles et de petits ronds pour les pensées.
- un cartouche : un encadré rectangulaire contenant des éléments narratifs et descriptifs assumés par le narrateur, appelés également commentaires.
- une onomatopée : un mot qui imite un son. Elle représente les « sons » de la bande dessinée.
- une gouttière : l’espace qui sépare les images des autres images. Cet espace est souvent blanc ou de la couleur de la page.
Exercice 1. Ouvrez le fichier de l'exercice 1 et reportez le terme qui convient avec chaque numéro correspondant.
LA PERSPECTIVE EN BANDE DESSINÉE
Il y a quatre grandes catégories de plans (ou de perspectives) avec, du plus large au plus resserré :
1. Les plans d'ensemble, qui donnent de l'importance au décor, à la situation générale.
2. Les plans moyens, qui font ressortir le ou les personnages, tout en donnant quelques informations sur leur environnement.
3. Les plans rapprochés, qui attirent l'attention du lecteur sur des personnages, une discussion ou des objets.
4. Les gros plans et très gros plans ou zooms, qui font ressortir un visage, un objet ou un détail.
Exercice 2. Ouvrez le fichier de l'exercice 2. Identifiez les différents plans et les termes corrects pour faire la description de la planche d' ALLIX-Le Dieu sans nom. Suivez les indications.
CHAPITRE 1 - L'origine de la bande dessinée
Discussion en classe. Après une présentation assez rapide, on peut se servir de cette discussion comme forme indirecte de préparation à la composition.
La question centrale est que les spécialistes ne considèrent pas ces exemples comme constituant véritablement l'ancêtre de la bande dessinée "moderne", dans le sens où cette dernière a une dimension critique qui ne sera développée qu'au XIXe siècle avec Töpffer. Ceci dit, il est peut-être préférable de laisser les étudiants s'exprimer oralement et par écrit sur le sujet, surtout s'il s'agit du tout début du cours. Le débat et la capacité à manipuler le vocabulaire important sont probablement plus importants ici que d'avoir "raison" ou "tort". Ceci est une question qui peut-être reposée en fin de cours!
Composition: La longueur de cette compostion peut varier. Chaque professeur.e se chargera de définir les paramètres, vu le niveau de leur classe et leur préférence (alinéas, marges, style, nombre de sources requises, soumission d'un brouillon initial). Voir les notes ci-dessus au sujer de la "Discussion en classe" pour lire certaines considérations vis-à-vis de réponses possibles au sujet de composition.
Exercice ludique sur les terminaisons et les genres: Selon le niveau de la classe, on peut réviser de manière plus complète les terminaisons qui aident à déterminer le genre des noms dans une grammaire de référence ou en rester seulement à ce rappel.
CHAPITRE 1 - L'ORIGINE DE LA BANDE DESSINÉE
PREMIÈRE PARTIE
Est-ce que la bande dessinée a toujours existé depuis que les humains sont sur la terre?
1. Lecture. Ouvrez le texte "L'invention de la bande dessinée", réalisé par Fanny Kerrien et Jean Auquier. Lisez l'introduction (p. 2) et "Depuis les origines, l'homme se raconte en images" (p. 3). Prenez des notes.
2. Faites une liste du vocabulaire que vous ne connaissez pas (ex: un témoignage; jalonner; une croyance; un creux; une bosse; l'art pariétal ...)
| VOCABULAIRE | PRATIQUE |
| avant/après notre ère (avant: avant/après J.C) | au douzième siècle = au XIIe siècle Rappel (chiffres ordinaux): douze ... douzième treize ... treizième neuf ... neuvième un/e ... premier/première vingt-et-un ... vingt-et-unième |
| N'OUBLIEZ PAS LA GRAMMAIRE! | N'OUBLIEZ PAS LES TEMPS ET CONJUGAISONS! |
depuis que + présent a century ago = il y a un siècle | verbes en -ant : le participe présent |
3. Présentation sur la grotte Chauvet (et/ou Lascaux) en France.
ekladata.com
Grotte de Chauvet en France (thoughtco.com)
Grotte de Lascaux en France (faculty.umb.edu)
DEUXIÈME PARTIE
Les fresques et mosaïques de l'Antiquité
Fresque gallo-romaine de Lyon (photo.geo.fr)
4. Lisez et regardez la page 4 de "L'invention de la bande dessinée"
| RAPPEL GRAMMATICAL |
| le futur avec aller + verbe à l'infinitif |
Le Moyen-Âge: vitraux, gravures et phylactère
5. Lisez et regardez la page 5 de "L'invention de la bande dessinée". Prenez des notes et vérifiez le vocabulaire que vous ne connaissez pas.
6. Discussion en classe au sujet de la tapisserie de Bayeux (XIe siècle). Après une présentation assez rapide sur la tapisserie de Bayeux, pensez-vous qu'il s'agit d'un "ancêtre" de la bande dessinée?
(etn-net.org)
7. Composition.
Regardez la vidéo (3 min.) sur la Chapelle Notre-Dame des Fontaines, intitulée "Brigue, Notre-Dame des fontaines" (https://www.youtube.com/watch?v=yVlI1CbzJ6E) et répondez à la question suivante en une à deux pages:
Selon vous, est-ce que la Chapelle Notre-Dame des Fontaines en France est un exemple de bande dessinée?
Église Notre-Dame-des-Fontaines en France (francetvinfo.fr)
| EXERCICE LUDIQUE SUR LES TERMINAISONS ET LES GENRES |
| QUELS MOTS SONT : M OU F? |
invention vitrail temple fresque événement vase enluminure image siècle personnage étiquette |
CHAPITRE 2 - Rodolphe Töpffer, l'inventeur de la bande dessinée?
CHAPITRE 2 - Rodolphe Töppfer (1799-1846) , celui qui est souvent considéré
comme l'inventeur de la bande dessinée
1. Travail sur la biographie de Töpffer. Faites des recherches et prenez des notes SEULEMENT sur la biographie de Töpffer. Pour vous aider à faire des recherches de base en anglais et en français, servez-vous d'abord de la page Wikipedia sur Rodolphe Töpffer en anglais (https://en.wikipedia.org/wiki/Rodolphe_T%C3%B6pffer). Puis, regardez la page Wikipedia en français sur Rodolphe Töpffer (https://fr.wikipedia.org/wiki/Rodolphe_T%C3%B6pffer).
Ces deux pages ne sont pas identiques mais peuvent vous aider à noter le vocabulaire pour pouvoir discuter de la biographie de Töpffer en classe.
Tout le monde partagera ses recherches en classe.
et 2. Discussion et présentation sur l'importance de Rodolphe Töpffer, premier théoricien de la bande dessinée. Voir Présentation Powerpoint ci-jointe.
3. La place de la narration dans les premières histoires en forme de bandes dessinées à la fin du XIXe siècle en France. Comparez et analysez les deux planches ci-jointes: celle de La Famille Fenouillard (1889) de Christophe et celle de Benjamin Rabier (1864-1939).
| ÉTUDE DES ONOMATOPÉES EN FRANÇAIS |
ALLEZ SUR L'INTERNET ET TROUVEZ 5 ONOMATOPÉES QUI CORRESPONDENT À DES CRIS D'ANIMAUX (CHIEN, CHAT, COCHON, CANARD, OISEAU, GRENOUILLE...)
|
ALLEZ SUR L'INTERNET ET TROUVEZ 5 ONOMATOPÉES QUI CORRESPONDENT À DES BRUITS HUMAINS
|
ALLEZ SUR L'INTERNET ET TROUVEZ 5 ONOMATOPÉES QUI CORRESPONDENT À DES BRUITS D'OBJETS INANIMÉS (PORTE, TONNERRE, VOITURE, VERRE CASSÉ ...)
|
4. Exercice. Ajoutez des mots (sous forme de cartouche, narration ou bulles) à la planche de Benjamin Rabier. Chaque case doit contenir un mot au minimum. Donnez aussi un titre à la planche. Vous pouvez utiliser des onomatopées si vous le désirez.
5. L'impact de la caricature dans la presse humoristique sur le développement de la bande dessinée francophone au Québec, puis en Afrique, jusque dans les années 1960.
L'importance de la caricature dans le développment de la bande dessinée francophone n'est pas seulement un phénomène suisse, français, belge ou européen. Mira Falardeau mentionne, dans Histoire de la bande dessinée au Québec (Montréal, VLB éditeur, 2008), que "les histoires en imges, ancêtres des bandes dessinées, font leur apparition dans la presse d'opinion à peu près en même temps que les caricatures." (17) Le journal Le Charivari canadien, journal humoristique illustré, commence, dès 1844, à proposer des histoires sous forme de colonnes verticales avec illustrations humoristiques. Falardeau inclut l'illustration ci-jointe, intitulée "Anonyme, L'aide de camp, Le Charivari canadien, Montréal, 1844" (19).
L'impact de la colonisation en Afrique francophone fait que le développement de la presse et de la bande dessinée est plus complexe. En effet, les débuts du dessin humoristique, dans la première moitié du vingtième siècle, semblent être portés par une vision coloniale moralisatrice. Dans Histoire de la bd congolaise, Christophe Cassiau-Haurie résume, pour ce qui est de la RDC : "Avant l'indépendance, plusieurs journaux éditent des petits strips de qualité médiocre mettant en scène des Africains. Mais ces illustrations relèvent plus du dessin de presse ou du strip à peine ébauché que de la BD. Seules les années [19]50 verront le démarrage de ce nouveau genre." (Paris, L'Harmattan, 2010, 15). Lisez les pages de récapitulation du statut de la bande dessinée en Afrique francophone au milieu du XXe siècle faite par Cassiau-Haurie ("La série Mukwapamba fait-elle du Congo le premier pays d'Afrique en matière du 9e art? " pp. 23-25)
CHAPITRE 3 - "Bécassine" (1905-1962) de Jacqueline Rivière (puis Caumery) et Émile Pinchon: la première héroïne de bande dessinée et la première femme scénariste de bande dessinée
Les aventures de Bécassine sont très courtes et simples à comprendre; il est conseillé d'en lire plusieurs avec les étudiants, selon le temps alloué à ce chapitre.
Ex. 4 sur les temps. N'hésitez pas à demander aux étudiants d'établir des listes des verbes rencontrés dans chaque histoire lue et de les trier par temps/conjugaison.
Ex. 5. Cet exercice peut donner lieu à un devoir de composition un peu plus développé et restructuré. Il peut donner l'occasion de faire une composition sur table.
Ex. 7. Suggestion: ajoutez plus de détails vis-à-vis de vos attentes quant au niveau de votre groupe (nombre de pages/mots; style MLA ou autre; bibliographie--minimum de sources en anglais et/ou en français)
CHAPITRE 3 - Bécassine (1905-1962) de Jacqueline Rivière (puis Caumery) et Émile Pinchon
(bobdemoor.info)
Certaines des aventures de Bécassine sont disponibles gratuitement en ligne.
Pour les lire, allez sur le site de la bibliothèque de Michigan State University où elles sont accessibles au public:
album-Caumery & Pinchon L'enfance de Bécassine (1913) https://d.lib.msu.edu/gnn/1122#page/6/mode/2up (disponible aussi en pdf en pièce jointe)
ou sur le site des archives nationales:
album-Caumery & Pinchon Bécassine voyage (1921) https://ia802809.us.archive.org/18/items/bcassinevoyage00pincuoft/bcassinevoyage00pincuoft.pdf (disponible aussi en pdf en pièce jointe)
1. Travail de recherche historique. Faites des recherches pour expliquer:
1. quand, où et comment les histoires de Becassine sont nées
2. pourquoi la naissance de Bécassine est accidentelle.
Donnez aussi le nom de la première scénariste de bande dessinée en France (et peut-être dans le monde!).
Apportez vos notes en classe pour en discuter ensemble.
2. Travail de recherche lexicale. Le nom "Bécassine" vient du nom "bécasse". Expliquez les différentes significations du nom "bécasse".
(oiseaux-birds.com)
a.
b.
et 3. Spécificités culturelles: pour mieux comprendre "Bécassine". Discussion de classe à partir de la présentation Powerpoint "Bécassine" (voir document ci-joint) pour parler de vos recherches (voir exercices 1 et 2 ci-dessus).
4. Temps et conjugaisons--révisions et approfondissement.
5. La bande dessinée: un genre fait pour les enfants. Avec les premiers albums de Töpffer et Bécassine, la bande dessinée francophone devient un genre fait pour les enfants. Pourriez-vous nommer 10 aspects qui montrent comment Bécassine s'adresse à un public enfantin? Donnez un exemple précis pour chaque aspect.a.
b.
c.
d.
e.
f.
g.
h.
i.
j.
6. Vocabulaire essentiel. Faites une liste de 20 mots ou expressions essentiels pour pouvoir parler de Bécassine et des aventures que vous avez lues. N'oubliez pas d'indiquer le genre pour les noms!
7. Composition. Faites des recherches sur un livre pour enfants américain des années 1960, lui aussi très connu: Amelia Bedelia de Peggy Parish et Fritz Siebel. Dans votre composition, comparez Bécassine et Amelia Bedelia et leurs séries sous tous leurs aspects. |
(newyorker.com)
(bobdemoor.info)
CHAPITRE 4 - "Les aventures de Tintin" d'Hergé
NOTE GÉNÉRALE: L'Île noire est un album de 62 pages. Chaque professeur peut découper la lecture de cette aventure en sessions plus ou moins rapides. Au niveau intermédiaire/intermédiaire avancé, je suggère 3-4 sessions d'une heure, soit un rythme de 15-20 pages par session, sachant que ceci n'est qu'une suggestion!
Exercice 2. Questions pour guider votre lecture. Ces questions peuvent être réordonnées vis-à-vis du rythme de lecture de la classe. Elles suivent l'ordre de lecture de l'album et ne sont pas à donner en bloc aux étudiants. Elles peuvent aussi aider à guider les discussions de classe.
Le but de ces questions est de faire comprendre aux étudiants la complexité ambigüe du personnage de Tintin (quasiment un enfant, sans famille, aux allures de détective même s'il est décrit comme reporter). L'autre but est de souligner la structure narrative d'une bande dessinée. La présentation Powerpoint, intitulée "La dernière case" peut servir d'exercice de discussion en classe.
Exercice 3. Recherche et présentation sur "la ligne claire" et Hergé. Cette présentation peut être faite de manière formelle par un.e des étudiant.e.s ou par un petit groupe, les autres étudiant.e.s devant ajouter les éléments ou aspects que la présentation n'a pas évoqué. Cette présentation peut être aussi partagée (avec narration pré-enregistrée) par toute la classe sur un site comme Blackboard et utilisée en tant qu'évaluation individuelle ou de groupes avec ensuite une récapitulation faite en classe.
Exercice 5. Humour et clichés dans L'Île noire d'Hergé. Utilisez le Powerpoint ci-joint pour éliciter des éléments d'analyse et de critique au sujet de l'album. on peut ajouter des considérations supplémentaires et parler d'albums aussi problématiques que Tintin au pays des Soviets (stéréotypes) et Tintin au Congo (racisme).
Exercice 6. Composition. Suggestion: ajoutez plus de détails vis-à-vis de vos attentes quant au niveau de votre groupe (nombre de pages/mots; style MLA ou autre; bibliographie--minimum de sources en anglais et/ou en français). L'article de Tisseron inclus ici est en traduction anglaise dû à la difficulté des idées qui s'y trouvent. Cependant, selon le niveau de la classe, on peut soumettre les idées de Tisseron dans sa version originale.
L'article de Tisseron peut faire l'objet d'une discussion de classe bien avant la date de soumission de la composition afin de s'assurer que les étudiants ont bien compris les idées et propositions de Serge Tisseron.
CHAPITRE 4 - LES AVENTURES DE TINTIN D'HERGÉ
(tintin.com)
1. Travail de recherche et de présentation. Faites des recherches sur la vie et l'oeuvre de Georges Remi, l'auteur des Aventures de Tintin. Concentrez-vous sur les moments importants.
Ce travail pourra être présenté oralement en classe sous la forme d'un Powerpoint (nombre de diapositives maximum: 8).
Choix et études de 2 aventures
L’Île Noire
(1938; 2e édition en 1943)
Quoique des copies pdf de l''album L'Île noire soient disponibles gratuitement sur Internet, veillons à respecter les droits de reproduction des auteurs et maisons d'éditions.
ÉTUDE DES ONOMATOPÉES EN FRANÇAIS (SUITE) | |
Dans le deuxième chapitre, nous avons commencé à apprendre des onomatopées. Continuez à faire une liste de ces onomatopées au fur et à mesure que vous lisez l'album de Tintin : | |
Onomatopées déjà étudiées/lues:Ex : bêê-ê (p. 9)Nouvelles onomatopées:Ex : pan! (p. 1) |
2. Questions pour guider votre lecture. Les questions suivantes peuvent guider votre lecture et vous aider à analyser L'Île noire.
a. Qui est Tintin? Faites une description de son apparence physique. Quel âge a-t-il, selon vous? A-t-il une profession?
b. L'aventure est-elle finie à la fin de la première planche ou page? Est-ce que Tintin est mort?
c. Observez la construction des cases de la première planche ou page. Quelle structure voyez-vous?
d. Faites une description physique de M. Dupont and M. Dupond. Quelle est leur spécificité en tant que personnage?
e. Très vite, nous voyons la personnalité de Tintin. Quelle est sa personnalité?
f. Dans quel pays est-ce que Tintin arrive à la page 7?
g. Comment est Milou? Quelle est son utilité en tant que personnage dans l'histoire?
h. Qui est Dr. J.W. Müller?
i. Lisez ou relisez le passage (pp. 15-22) où Tintin est chez le docteur Müller. Cette aventure est-elle crédible ou non? Expliquez en détails.
j. Nommez les deux passages qui, selon vous, sont les plus comiques dans cet album. Expliquez en détails ce qui est comique.
k. Que se passe-t-il avec Milou à la page 34 et à la page 35?
l. Pouvez faire une liste rapide et compter le nombre de fois où Tintin est attaqué ou se fait mal?
m. Ranko, un gorille, semble faire référence à quel autre gorille? Quelles sont les similarités et les différences?
PAUSE TEMPS ET CONJUGAISONS | 1. Étude ou révision, dans une grammaire de référence ou en ligne, de l'impératif, omniprésent dans les histoires de Tintin. Voir, par exemple, "Allons voir" (p. 1) dans L'Ile noire. Relevez aussi "Lâchez-moi" (p. 3) ou "donne-la-moi" (p. 4).
2. Étude ou révision, dans une grammaire de référence ou en ligne, de l'accord du participe passé (avec avoir) avec l'objet direct placé avant le verbe, comme, par exemple, "ils nous ont dépassés" (p. 7).
3. Étude ou révision, dans une grammaire de référence ou en ligne, de la voix passive, comme, par exemple, "l'avion a été retrouvé" (p. 11). |
3. Recherche et présentation sur "la ligne claire" chez Hergé. Faites des recherches sur le style de "la ligne claire" et Hergé et préparez un Powerpoint avec 2-3 diapositives pour l'expliquer en classe de la manière la plus complète possible.
4. Avez-vous remarqué? Dans les aventures de Tintin et dans beaucoup de bandes dessinées (en français et dans d'autres langues), on voit souvent des interjections et des adverbes pour indiquer rapidement le sens d'une action ou une émotion, des aspects un peu difficiles à montrer clairement dans un dessin. Vous trouverez quelques-uns de ces mots ou expressions ci-dessous. Continuez la liste:
-hélas -tant pis! -voyons -zut -çà alors! - - - - | - dommage! -dis donc -avant tout -tiens - - - - - |
5. Humour et clichés dans L'Ile noire d'Hergé. Présentation et discussion au sujet de l'humour et des clichés présents dans l'album L'Île noire (voir Powerpoint ci-joint).
6. Composition. Après avoir lu l'article de Serge Tisseron, intitulé "Family Secrets and Social memory in Les Aventures de Tintin" (Yale French Studies*), pensez-vous être d'accord avec son approche psychologique/psychoanalytique de Tintin et du "secret de famille" révélé à travers tous ses albums? Ou pensez-vous que Ranko est simplement un autre King Kong? Expliquez votre position avec des détails précis pris dans L'Île noire.
*L'article est accessible gratuitement sur jstor: http://www.jstor.org/stable/3090597. Il est aussi inclus dans ce chapitre.
Les Bijoux de la Castafiore
(1963)
Quoique des copies pdf de l''album Les Bijoux de la Castafiore soient disponibles gratuitement sur Internet, veillons à respecter les droits de reproduction des auteurs et maisons d'éditions.
ÉTUDE DES ONOMATOPÉES EN FRANÇAIS (SUITE) | |
Dans le deuxième chapitre, nous avons commencé à apprendre des onomatopées. Continuez à faire une liste de ces onomatopées au fur et à mesure que vous lisez l'album deTintin : | |
Onomatopées déjà étudiées/lues:Ex : bêê-ê (p. 9)Nouvelles onomatopées:Ex : Ouille (p. 46) |
2. Questions pour guider votre lecture. Les questions suivantes peuvent guider votre lecture et vous aider à analyser Les Bijoux de la Castafiore.
a. Qui est Tintin? Faites une description de son apparence physique. Quel âge a-t-il, selon vous? A-t-il une activité professionnelle? Quelle est sa relation avec le capitaine Haddock?
b. Faites une description du capitaine Haddock. Quel est son tempérament? Comparez-le à Tintin.
c. Tryphon: qui est-il? Quel est l'intérêt de ce personnage?
d. Identifiez 3 planches/pages qui sont différentes les unes des autres du point de vue de la structure de leurs cases. Expliquez l'impact qu'ont ces différentes structures et les raisons derrière le choix d'Hergé.
e. Faites une description physique du professeur Tournesol. Quelle est sa spécificité et son intérêt en tant que personnage? En quoi est-il différent des autres personnages?
f. Très vite, nous voyons la personnalité de Tintin dans l'épisode des tziganes. Quelle est sa personnalité au début ey jusqu'à la fin?
g. Comment est Milou? Quelle est son utilité en tant que personnage dans l'histoire? Donnez des détaisl précis.
h. Faites une description de la Castafiore. Pourquoi est-elle un personnage comique (et frustrant pour le capitaine Haddock!)?
i. Qui est-ce qu'on accuse d'avoir volé l'émeraude et qui l'a volée finalement?
j. Nommez les deux passages qui, selon vous, sont les plus comiques dans cet album. Expliquez en détails ce qui est comique.
k. M. Dupont et M. Dupond sont des personnages très différents des autres, physiquement et dans leurs actions et paroles. Expliquez.
l. Pouvez faire une liste et compter le nombre de fois et les différentes occasions où Tintin se transforme en détective?
PAUSE TEMPS ET CONJUGAISONS | 1. Étude ou révision, dans une grammaire de référence ou en ligne, de l'impératif, omniprésent dans les histoires de Tintin. Voir, par exemple, "Emplissez" (p. 1) dans Les Bijoux de la Castafiore. Relevez aussi "Laisse-moi parler" (p. 4) ou "soyez sans crainte" (p. 15) ou encore "surtout n'en faites rien" (p. 21).
2. Étude ou révision, dans une grammaire de référence ou en ligne, de l'accord du participe passé (avec avoir) avec l'objet direct placé avant le verbe, comme, par exemple, "elle m'a mordu" et "vous l'avez effrayée" (p. 2).
3. Étude ou révision, dans une grammaire de référence ou en ligne, de la voix passive, comme, par exemple, "j'ai été mordu" (p. 13). |
3. Recherche et présentation sur "la ligne claire" chez Hergé. Faites des recherches sur le style de "la ligne claire" et Hergé et préparez un Powerpoint avec 2-3 diapositives pour l'expliquer en classe de la manière la plus complète possible.
4. Avez-vous remarqué? Dans les aventures de Tintin et dans beaucoup de bandes dessinées (en français et dans d'autres langues), on voit souvent des interjections et des adverbes pour indiquer rapidement le sens d'une action ou une émotion, des aspects un peu difficiles à montrer clairement dans un dessin. Vous trouverez quelques-uns de ces mots ou expressions ci-dessous. Continuez la liste:
-Tiens! -Saperlipopette! -mille sabords! - - - - - | - Qui sait? -Chut! - - - - - - -
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5. Humour et clichés dans Les Bijoux de la Castafiore d'Hergé. Présentation et discussion au sujet de l'humour et des clichés présents dans l'album Les Bijoux de la Castafiore (voir Powerpoint ci-joint).
6. Composition. Après avoir lu l'article de Serge Tisseron, intitulé "Family Secrets and Social memory in Les Aventures de Tintin" (Yale French Studies*), pensez-vous être d'accord avec son approche psychologique/psychoanalytique de Tintin et du "secret de famille" révélé à travers tous ses albums? Expliquez votre position avec des détails précis pris dans Les Bijoux de la Castafiore.
*L'article est accessible gratuitement sur jstor: http://www.jstor.org/stable/3090597. Il est aussi inclus dans ce chapitre.
CHAPITRE 5 - "Les Schtroumpfs noirs" (1963) de Peyo
NOTE : L'histoire des "Schtroumpfs noirs" est très courte (19 pages) et peut être lue et discutée en 2-3 cours.
Ex. 1. Le pays et le village schtroumpfs. Cet exercice peut se faire sans préparation préalable et en paires comme exercice d'échauffement et d'introduction.
Ex. 8. Composition. Suggestion: ajoutez plus de détails vis-à-vis de vos attentes quant au niveau de votre groupe (nombre de pages/mots; style MLA ou autre; bibliographie--minimum de sources en anglais et/ou en français).
CHAPITRE 5 - Les Schtroumpfs noirs (1963) de Peyo
Quoique des copies pdf de l'histoire des "Schtroumpfs noirs" (pp. 3-22) dans l'album Les Schtroumpfs noirs soient disponibles gratuitement sur Internet, veillons à respecter les droits de reproduction des auteurs et maisons d'éditions.
Avant de commencer: que se passe-t-il pendant qu'Hergé et Peyo dessinent leurs bandes dessinées (1938-1960)? Regardez et écoutez laprésentation Powerpoint courte et contextuelle intitulée "La bd francophone pendant les années 1938-1960".
(Editions Dupuis)
1. Le pays et le village schtroumpfs. Regardez l'image ci-dessus, qui est la première case de la bande dessinée de Peyo. Écrivez 3-4 phrases complètes qui décrivent ou analysent le caractère idyllique de ce pays et de ce village. Vous pouvez utilisez d'autres cases ou pages si vous avez déjà lu les premières pages de l'histoire.
2. Le langage Schtroumpf : exercice de définition et d’analyse. La deuxième case de cette bédé indique clairement que "les Schtroumpfs ont un langage bien particulier". Pouvez-vous faire une liste de 10 exemples de mots ou expressions qui font partie du langage schtroumpf et pouvez-vous en faire la traduction en français? Que remarquez-vous?
| Langue schtroumpf | Traduction en français |
Ex: On va schtroumpfer au pont sur la rivière Schtroumpf (p. 3) - - - - - - - - - -
| -On va travailler au pont sur la rivière Schtroumpf - - - - - - - - - -
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3. Discussion en groupe: le Grand Schtroumpf et le petit schtroumpf paresseux. Discutez en groupe des sujets suivants et répondez aux questions avant d'en parler tous ensemble?a. Qui est le Grand Schtroumpf? Comment est-il physiquement? Est-il différent des autres Schtroumpfs? De quoi est-il responsable? À la page 22, la dernière page, il est accusé de ne pas avoir de sens de l'humour--expliquez.b. De nombreux critiques ont trouvé que le Grand Schtroumpf et son village rappellent le communisme et en sont une une métaphore critique. Pourriez-vous expliquer la logique derrière cette analyse? Veuillez vérifier la date de publication de cette bande dessinée.c. Finalement, pour vous, qu'est-ce que le Grand Schtroumpf représente et pourquoi ?
4. Vocabulaire: auto-évaluation. Traduisez les mots suivants en anglais sans consulter un dictionnaire. Ce vocabulaire vient directement des Schtroumpfs noirs. Testez-vous d'abord. Si vous ne connaissez pas la signification d'un mot, essayez de le remplacer par un autre mot que vous avez appris dans cette bande dessinée.Puis vérifiez ensuite les mots dont vous n'étiez pas sûrs dans un dictionnaire !
5. Un monde sans fille ou femme? Regardez et écoutez la présentation Powerpoint sur "La sexualisation féminine de la bd francophone des années 1960".
6. Lecture: lisez l'article de Célia Sadai intitulé "Les Schtroumpfs noirs de Peyo ou l'ambiguïté problématique de la bande dessinée coloniale", La Plume francophone (2 juillet 2014), disponible en ligne: https://la-plume-francophone.com/2014/07/02/peyo-les-schtroumpfs-noirs/ ou en pièce jointe.
7. Discussion sur le racisme dans Les Schroumpfs noirs après la lecture de l'article de Célia Sadai. Question: que pensez-vous de cette histoire et de son message raciste conscient ou inconscient? Expliquez.
8. Composition. Répondez à la question suivante: Pensez-vous que ce cours devrait continuer à exposer les étudiants de français à ce mini-récit ou pensez-vous qu'on devrait ni le publier ni l'étudier? Expliquez.
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CHAPITRE 6 - "Astérix légionnaire" (1967) de Goscinny et Uderzo
Ex. 2. Cet exercice de recherche peut être fait sous la forme d'un devoir personnel ou à faire en groupe.
CHAPITRE 6 - Astérix légionnaire (1967) de Goscinny et Uderzo
Quoique des copies pdf de l'histoire de l'album Astérix légionnaire soient disponibles gratuitement sur Internet, veillons à respecter les droits de reproduction des auteurs et maisons d'éditions.
Pour commencer
1. Activité d'introduction: Comment le personnage d'Astérix est-il né? Faites des recherches sur la genèse d'Astérix et répondez aux questions suivantes avec des phrases complètes. Vous pouvez utiliser les documents de votre choix (documents vidéo ou non). Goscinny et Uderzo ont donné des interviews relativements courtes au sujet de la naissance d'Astérix. Ces interviews se trouvent en ligne :
Quand Goscinny et Uderzo ont-ils commencé à collaborer ? Était-ce avant ou après la création d’Astérix ?
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Quel est le rôle de Goscinny et quel est le rôle d’Uderzo dans cette bande dessinée ?
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Avant Astérix, quel genre d’histoires est-ce que Goscinny et Uderzo créaient—des histoires sérieuses ou des histoires humoristiques ?
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Quel était le public pour lequel ils ont inventé Astérix et pourquoi Goscinny a-t-il choisi une histoire et un personnage gaulois ? Pourquoi a-t-il choisi cette période historique ?
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Réalités économiques - Le succès de la série Astérix en chiffressérie de 39 albumstraduit en 111 langues et dialectesplus de 370 millions d'albums vendus dans le monde2 millions d'exemplaires vendus en français pour chaque albumParc Astérix - 2e parc d'attraction en France après Disneylandversions filmées nombreusesfilms d'animation (en plusieurs langues)jeux vidéo produits dérivés de toutes sortes (tee-shirts, poupées, gadgets, porte-clés, etc...) |
2. Biographies de Goscinny et Uderzo: Influences potentielles sur leur travail respectif de scénariste et de dessinateur.
Étudiez les biographies de Goscinny et Uderzo (disponibles sur Internet) et cherchez des influences potentielles sur leur talent artistique en répondant aux questions suivantes :
| Goscinny | Uderzo | |
Patoruzú est un personnage de bd qui a connu un immense succès en Argentine de 1928 à 1977. Expliquez les raisons possibles de l’influence de Patoruzú sur Goscinny ? | ||
Nommez 2 des spécificités de Patoruzú et de son frère (Upa), présentes dans Astérix et Obélix et visibles dès la première page ? Nommez une spécificité déterminée par le scénariste et une spécificité visuelle, déterminée par Uderzo en accord avec Goscinny. | ||
Faites une description des rayures du pantalon d’Obélix. Quelle équipe de football porte ces sortes de rayures ? Pensez-vous que ce soit le choix de Goscinny ou le choix d’Uderzo ? | ||
Marquez qui a vécu à New York en 1945 et a essayé de travailler pour Walt Disney...en vain. Est-ce Goscinny ou Uderzo ? Selon vous, qu’est-ce que ce désir semble indiquer ? Quel serait l’impact possible sur Astérix ? | ||
Où est-ce que Goscinny et Uderzo se sont rencontrés avant de travailler sur Astérix ? Expliquez pourquoi ceci est important. | ||
Quelle est la date de publication de l’album Astérix légionnaire et à quelle période historique est-ce que cela correspond en Europe et en général ? Comment est-ce que cette période a pu influencer les deux auteurs ? |
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3. Pour comprendre le début de l'histoire. Lisez le texte de la page 3 à la page 13 et finissez les phrases suivantes ou répondez aux questions en français avec le mot de vocabulaire qui se trouve à la page mentionnée. Vous pouvez utiliser un dictionnaire :
1. Le 31 décembre à minuit, on s'embrasse souvent sous un bouquet de .................. (p. 5).
2. Quelle sorte d'arbre est-ce:
.......................... (p. 10).
3. Voici un casque:
. Un casque peut aussi ressembler à ceci: [essayez d'en dsessiner un!] (p. 11).
4. Quel est l'animal qu'Obélix adore manger? ........................................... (p. 6).
5. Obélix est si amoureux qu'il ne mange plus. Au lieu de manger, il pousse de gros ............................. (p. 6).
6. Qu'est-ce que c'est?
........................................... (p. 7).
7. Se cogner à un arbre, est-ce que cela fait mal ou pas? ..................................................... (p. 9).
8. Les Romains piétinent les fleurs bleues dans la forêt. La première syllabe du verbe "piétiner" (p. 10) fait référence à un:
.......................
9. Traduisez en anglais:
des renforts: ........................................... (p. 13)
Maintenant, écrivez comment on dit en français:
to reinforce: ...............................................
10. Trouvez un synonyme français pour le mot "colosse" (p. 10) : ...........................................
4. Lecture: Travail sur le contexte historique. Continuons à lire les pages 3-13. Où sommes-nous exactement dans cet album dès le début ? Quel est le contexte historique? Qui sont les personnages principaux ? Répondez aux questions suivantes :
Où ?
a. Où se trouve ce village gaulois exactement ? Dans quelle région se trouve-t-il exactement?
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b. Quelle est la taille de ce village ? Y a-t-il d'autres villages gaulois ?
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Quand ?
a. Quelle est la date? Que se passe-t-il en Gaule à cette époque?
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b. Regardez le drapeau et le blason (p. 3), symboles de l'empire romain écrasant la Gaule. Faites des recherches pour trouver les armoiries du Troisième Reich d'Hitler et comparez les deux.
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Qui ?
a. Faites la liste des quatre garnisons de légionnaires stationnées autour du village gaulois, en changeant les V latins en U modernes (p. 3). Puis essayez d'expliquer la signification de chaque nom :
Garnison 1 :
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Garnison 2 :
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Garnison 3 :
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Garnison 4 :
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b. Lisez la bande dessinée jusqu'à la page 13. Faites la liste des six personnages décrits à la page 4 et ajoutez le nouveau personnage qui apparaît à la page 7, le personnage dont on parle à la page 8 et les deux personnages dont on parle à la page 12. Pour ces 10 personnages, essayez de trouver une signification ou raison d'être de chaque nom.
1. .............................................................................................................................................................
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Pour continuer ...
(Astérix et Obélix à Condate, pp. 14-27)
5. Compréhension du vocabulaire. Lisez la bande dessinée de la page 14 à la page 27 et finissez les phrases suivantes ou répondez aux questions avec le mot de vocabulaire qui se trouve à la page mentionnée. Vous pouvez utiliser un dictionnaire :
a. Trouvez le synonyme de "rire" : .................................................. (p. 20).
b. En général, la farine pour faire le pain est une farine de ............................ (p. 24).
c. Quel est le contraire de l'expression "au crépuscule" ? ......................................... (p. 27).
d. Quelle sorte d'oiseau est-ce ? ......................................... (p. 21).
e. Trouvez un synonyme de "inscrire" en français: .............................................. (p. 18).
f. Une marmite est : a. une grosse casserole ou b. de la nourriture (p. 25) ?
h. Normalement, on ........................................... à la police quand une injustice a été commise (p. 22).
i. Si vous ne voulez pas dîner chez vous, vous pouvez aller das un café, dans un restaurant ou dans .................................................... (p. 18).
j. "Malin" en français est le contraire de "stupide". Quelle est la signification de "faire le malin" (p. 27) ? Expliquez en français, si possible.
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k. Un ....................................... est une prison, en général, dans un donjon à l'intérieur d'une forteresse (p. 25).
6. Les bureaux de la légion (pp. 15-17). Épisode comique et satirique. Analysez le comique et la satire dans cet épisode en répondant aux questions suivantes :
a. Au début de cet épisode, Astérix cherche un certain bureau. Lequel et pourquoi ?
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b. Est-ce qu'Astérix reçoit une réponse assez rapide ?
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c. Avez-vous eu une expérience identique à l'expérience d'Astérix ? Est-ce un épisode relativement réaliste? Expliquez.
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d. Expliquez comment l'anachronsime ici (l'histoire se passe sous l'empire romain!) aide à renforcer l'aspect comique de la situation et la satire de l'administration.
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7. Les volontaires pour la légion romaine (pp. 18-27) - Quand le comique est visible! Voici la carte de l'empire romain :
a. Identifiez la région d'où vient chaque volontaire, présenté de la page 18 à la page 27. Marquez la région d'origine de chaque volontaire avec une croix ou une flèche. Identifiez ensuite la région d’où vient chaque volontaire, présenté de la page 18 à la page 27 (voir ci-dessous).
b. Notez comment leur nom est un jeu de mots (comique, bien sûr !). Suggestion : prononcez leur nom à voix haute en français pour mieux comprendre leur signification (voir ci-dessous).
c. Puis, faites une description de la manière avec laquelle Goscinny et Uderzo représentent la langue de chaque volontaire (voir ci-dessous).
d. Résumez le point de vue ou la personnalité de chaque volontaire et ce qu'ils aiment ou non (voir ci-dessous).
1. Plazadetoros
Région d'origine : ...............................................
Signification (comique) de leur langue : ..................................................
Représentation graphique de leur langue : ............................................................
Personnalité ou point de vue : ......................................................................
2. Faupayélatax
Région d'origine : ...............................................
Signification (comique) de leur langue : ..................................................
Représentation graphique de leur langue : ............................................................
Personnalité ou point de vue : ......................................................................
3. Chimeric
Région d'origine : ...............................................
Signification (comique) de leur langue : ..................................................
Représentation graphique de leur langue : ............................................................
Personnalité ou point de vue : ......................................................................
4. Figuralégoric
Région d'origine : ...............................................
Signification (comique) de leur langue : ..................................................
Représentation graphique de leur langue : ............................................................
Personnalité ou point de vue : ......................................................................
5. Courdeténis
Région d'origine : ...............................................
Signification (comique) de leur langue : ..................................................
Représentation graphique de leur langue : ............................................................
Personnalité ou point de vue : ......................................................................
6. Astérix et Obélix
Région d'origine : ...............................................
Signification (comique) de leur langue : ..................................................
Représentation graphique de leur langue : ............................................................
Personnalité ou point de vue : ......................................................................
e. Tous ces personnages, mis ensemble, contribuent au comique de la situation. Comment et pourquoi? Répondez en un ou deux paragraphe(s).
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Continuons ...
8. Préparation personnelle du vocabulaire: la marche vers Condate (pp. 28-32). Faites une liste personnelle de 5 mots ou expressions de vocabulaire que vous ne connaissie pas avant et qui sont dans ces 5 pages (pp. 28-32). Expliquez leur signification en français :
a. ...............................................................................................................................................................
b. ...............................................................................................................................................................
c. ...............................................................................................................................................................
d. ...............................................................................................................................................................
e. ...............................................................................................................................................................
9. Discussion/composition sur les effets comiques dans Astérix.
Dans son essai, intitulé Le Rire. Essai sur la signification du comique (1900), le philosophe Henri Bergson a essayé d'analyser différents mécanismes et effets comiques. Il y identifie plusieurs procédés comiques:-le comique de répétition-le phénomène du "pantin à ficelles" (quand le personnage, raide comme une marionnette, n'est pas libre de ses actions ou de ses pensées)-le comique d'inversion et de renversement de situation-le comique d'interférence |
Lisez l'encadré ci-dessus qui résume la théorie de Bergson et répondez à la question suivante :
Selon vous, quelles formes de comique pouvez-vous identifier dans Astérix légionnaire et quelle(s) forme(s) de comique pouvez-vous identifiez en particulier dans la séquence de la marche de Condate à Massalia (pp. 28-32)? Donnez des exemples précis. Vous pouvez utiliser la note ci-dessus au sujet de la théorie de Bergson:
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10. Le départ de Massilia et la traversée de la Méditerranée (pp. 33-35 et p. 47).
Le gag récurrent des pirates et l'image flagrante et répétée des années 1960
Les pirates
L’arrivée d’un bateau de pirates, qui a toujours pour conséquence un naufrage, est un gag burlesque et récurrent dans la série Astérix à partir de 1964 (avec Astérix gladiateur) et jusque dans les années 1990 (dans les albums dessinés par Uderzo). Ce gag se répète aussi à l’intérieur même d’Astérix légionnaire (le deuxième naufrage se trouve à la page 47). Dans son article « Astérix et les pirates : Une esthétique du naufrage pour rire », Nelly Feuerhahn explique l’intérêt de ces épisodes ainsi : « Goscinny et Uderzo soumettent la bande dessinée à une esthétique du désordre humoristique. [...] Toute histoire est fondée sur un déséquilibre auquel le ou les héros doivent remédier par leurs actions. » (Ethnologie française, juin-septembre 1998, pp. 337-338).
La présentation du pirate africain
Graphiquement (lèvres accentuées) et verbalement (omission des sons « r »), la présentation du pirate africain perché dans le nid-de-pie (p. 34 et p. 47) rend la lecture d’Astérix légionnaire problématique.
Pour rendre ce portrait et la lecture de l’album encore plus complexes, la première vignette du second strip à la page 35 montre ce pirate africain comme l’un des rescapés du naufrage les plus actifs. De plus, cette vignette est un pastiche du célèbre « Radeau de la Méduse » (1819) de Théodore Géricault. Le pirate africain est l’un des deux seuls héros qui cherchent à attirer l’attention d’un bateau pour les secourir et c’est lui qui a le dernier mot de l’histoire face au capitaine à la page 47 d’Astérix légionnaire. Nous voyons clairement ici la critique du capitaine du bateau des pirates qui n’a rien fait pour aider à la page 35 et a simplement prononcé « Je suis médusé ! », un jeu de mots évident pour faire référence au tableau pastiché.
(en.wikipedia.org)
Faites des recherches au sujet du "Radeau de la Méduse" de Géricault et répondez à la question suivante :
Que pensez-vous de ces pages (pp. 34-35 et p. 47) ? Vous avez presque fini de lire Astérix légionnaire. Cet épisode gâche-t-il le reste de l'histoire pour vous? Comment voyez-vous la richesse potentielle du pastiche du tableau " Le Radeau de la Méduse" et aussi la présence d'un dessin raciste dans cet album d'une série française, publiée tout au long de la seconde moitié du XXe siècle?
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| PAUSE GRAMMATICALE | "Je ne pense pas qu'il y ait de la cervoise" (p. 37) | Pourquoi le subjonctif "ait" ici? Étude ou révision du subjonctif |
11. Astérix et les allusions historiques (p. 44).
L’épisode de la page 44 fait allusion à la bataille de Thapsus (aujourd’hui en Tunisie) en 46 avant notre ère entre les forces de Jules César et l’armée de Scipion. Il s’agit à nouveau d’une allusion historique.
Faites des recherches au sujet de la bataille de Thapsus et identifiez 3 différences ou aspects incomplets entre la version historique et la version de Goscinny et Uderzo :
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Finalement, expliquez pourquoi cet épisode très court ne sert pas simplement d'allusion historique. Donnez deux raisons pour lesquelles les auteurs, selon vous, ont fait cette allusion et inclus cet épisode.
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Pour conclure ...
12. Falbala et Tragicomix (pp. 47-48). Étudiez le portrait physique et psychologique de Falbala et de Tragicomix. Répondez aux questions suivantes:
a. Physiquement, à quels autres héros de bande dessinée Falbala et tragicomix ressemblent-ils? Faites une description des vêtements et de l'apparence physique des deux personnages. Voyez-vous une influence potentielle ici (vous pouvez vous référer à l'activité 1 d'introduction dans ce chapitre) ?
Falbala : ............................................................................................................................
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Tragicomix : ...............................................................................................................
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b. Quelle analyse psychologique feriez-vous de Falbala et de Tragicomix ?
Falbala : ......................................................................................................................
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Tragicomix : ...............................................................................................................
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c. Est-ce qu'il y a d'autres personnages masculins comme Tragicomix et d'autres personnages féminins comme Falbala dans Astérix légionnaire ?
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d. Selon vous, quelles sont les raisons derrière le choix de ces personnages dans cette bédé ?
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13. "The Flying Deuces" - Exercice de conversation et/ou de composition.
Le scénario du film "The Flying Deuces" (1939; 1 hre 8 min.) avec Laurel et Hardy semble avoir inspiré, directement ou indirectement, Astérix légionnaire, spécialement pour le début de l'histoire.
Question: Regardez ce film, qui est disponible sur Internet, et notez les similarités et les différences. En quoi sont-elles intéressantes?
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CHAPITRE 7 - Monopoles, influences étrangères ou coloniales et questions budgétaires
CHAPITRE 7 - Monopoles, influences étrangères ou coloniales
et questions budgétaires
Que se passe-t-il dans le domaine de la bd en dehors de l'Europe francophone au milieu du XXe siècle ?
1. Au Québec.
"Comme la plupart des arts au Québec, la bande dessinée souffre d'une double concurrence, européenne et américaine." (Mira Falardeau, Histoire de la bande dessinée au Québec, Vlb éditeur, Montréal, 2008, p. 183)
Comme le rapporte Mira Falardeau, le Québec, tout comme la Suisse ou la France ou encore la Belgique, voit ses premiers chroniqueurs et dessinateurs humoristiques au XIXe siècle. Ces dessins et chroniques, ancêtres de la bande dessinée, sont publiés dans des journaux, tels Le Charivari canadien et Le Canard (1877-1957).
(Falardeau, Histoire de la bande dessinée au Québec, p. 19)
On remarque aussi d'autres similarités dans le développement et la transformation de l'histoire en images en véritable bande dessinée au début du XXe siècle avec l'adoption de la bulle, l'introduction des onomatopées et des lignes de mouvement (Falardeau, Histoire de la bande dessinée au Québec, p. 34).
b. Toutefois, de 1930 jusqu'aux années 1960, le marché américain des comics inonde le Canada et casse les prix car les comics sont publiés à l'intérieur des journaux locaux et nationaux. Ne pouvant résister, au Québec, comme dans les autres provinces, "on à affaire à un quasi-monopole américain, maintenu par les éditeurs, qui n'offrent aux dessinateurs québécois que le cachet dérisoire qu'ils versent aux syndicates américains." (Falardeau, Histoire de la bande dessinée au Québec, p. 65). En outre, les "revues franco-belges qu'on trouve en kiosque ou qu'on peut se procurer par abonnement supplantent rapidement en qualité et en nombre les quelques revues québécoises, Claire, François et Hérauts, qui luttent pour garder leurs lecteurs." Falardeau, Histoire de la bande dessinée au Québec, p. 65). S'ajoute à ce phénomème la popularité écrasante de Spirou, qui naît en 1938 et la série des Tintin qui commence à être publiée juste après la seconde guerre mondiale. C'est dans ce contexte que Pierre Dupras, dessinateur de bd québécois, a dénoncé une forme de "colonialisme culturel" (La Barre du jour, 1975, cité dans Falardeau, Histoire de la bande dessinée au Québec, p. 82) insoutenable.
C'est seulement avec la Révolution Tranquille des années 1960 et le mouvement de contre-culture qu'elle amène avec elle qu'une vague underground québécoise et parfois féministe commence à voir le jour. Le 1er Festival International de la Bande Dessinée a finalement lieu en 1975 à Montréal, présentant enfin et de manière internationale la richesse de la production canadienne et québécoise (communément appelée BDK dans les années 1070 et plus récemment BDQ--bande dessinée québécoise).
2. En République Démocratique du Congo (RDC).
a. L'omni-présence de Tintin et de la bédé belge au Congo.
Pendant la période coloniale et selon Christophe Cassiau-Haurie, "plusieurs journaux éditent des petits strips de qualité médiocre mettant en scène des Africains. Mais ces illustrations relèvent plus du dessin de presse ou du strip à peine ébauché que de la BD." (Histoire de la BD congolaise, Paris, L'Harmattan, 2010, p. 15) La bande dessinée est ainsi un outil colonial et paternaliste, tel Les 100 aventures de Mbumbulu, qui sort en albums à partir de 1956 et qui représente la première bande dessinée congolaise, quoique créée par un religieux belge, le frère Marc.
(Christophe Cassiau-Haurie, Histoire de la BD congolaise, p. 19)
Il est indéniable que la série des Tintin a un impact considérable sur le développement du neuvième art au Congo, avec, par exemple, l'adoption de la "ligne claire". La publication de Tintin au Congo en couleur en 1946 y a même reçu un accueil très chaleureux malgré la présence évidente d'un dessin et d'un script racistes.
b. Émergence d’auteurs tel Mongo Sisé (1948-2008) dans les années 1970 et 1980 malgré la censure au Zaïre.
C'est donc après l'indépendance, dans les années 1970 que des auteurs de bédés zaïrois commencent à publier leurs séries, tel Mongo Sisé avec les séries Mata Mata et Pili Pili, deux Congolais. Il n'en est pas moins que Mongo Sisé "part s'installer à Bruxelles où il intègre le studio" (Christophe Cassiau-Haurie, Histoire de la BD congolaise, p. 43) d'Hergé. Il y crée la série Bingo, sorte de Tintin africain, au début des années 1980. "Le premier ouvrage, Bingo en ville, traite de l'exode rural et des dangers de la ville pour son héros, un jeune paysan qui quitte son village attiré par le 'miroir aux alouettes' que représente la grande ville. Entre chômage, retard des paiements de salaires, bagarres et escroqueries, le jeune Bingo découvre un monde sans pitié qui finit par l'écoeurer et l'encourage à rentrer dans son village." (Christophe Cassiau-Haurie, Histoire de la BD congolaise, p. 43) Enfin, il crée le journal Bédé Afrique.
Les crises économiques et politiques, la censure et les problèmes d'infrastructure mettent un frein à l'expansion de la bd dans le pays. Il est difficile de prospérer lorsqu'il y a des problèmes de transport et de distribution des journaux et magazines, en plus des facteurs politques.
(https://www.lambiek.net/artists/s/sise_mongo.htm)
3. Outre-mer: à La Réunion.
Comme les autres territoires francophones mentionnés dans cette section, le départment d'Outre-mer français de La Réunion publie, au XIXe siècle, des dessins humoristiques, sans phylactère mais avec un texte imprimé sous chaque vignette (Christophe Cassiau-Haurie, Histoire de la bande dessinée à La Réunion, 26 déc. 2008, http://bdzoom.com/5651/patrimoine/histoire-de-la-bande-dessinee-a-la-reunion/).
C'est aussi à la même époque que pour certains autres territoires francophones que la véritable forme moderne de la bande dessinée se développe avec des dessinateurs réunionnais tel Marc Blanchet. Ses planches paraissent "dans les journaux locaux de l'île" (Cassiau-Haurie, Histoire de la bande dessinée à La Réunion). Cassiau-Haurie déclare d'ailleurs que "l'émergence d'un véritable mouvement y a commencé en 1986 avec le magazine Le cri du Margouillat*. Créé par Boby Antoir, un enseignant fan de BD" (Cassiau-Haurie, Histoire de la bande dessinée à La Réunion) et Michel Faure, dessinateur, et accompagnés d'une équipe d'étudiants, le magazine se veut satirique et irrévérencieux (Cassiau-Haurie, Histoire de la bande dessinée à La Réunion). La revue, publié à Saint-Denis, existe toujours, preuve de son grand succès.
Dans un entretien, Appolo, rédacteur en chef du Cri du Margouillat répond ainsi à deux questions cruciales sur le magazine:
Je pense qu’au début il s’agissait juste de créer un support pour que des jeunes puissent publier les BDs qu’ils griffonnaient dans leur coin. Mais en fait, c’est rapidement devenu autre chose : c’est vraiment une bande qui s’est formée et qui, d’une certaine manière, a grandi ensemble. On faisait de la BD, on discutait de cinéma, de rock, de livres, de politique, et le journal est devenu l’un des lieux de la modernité créole et urbaine qui naissait dans les années 80 et 90.
Est-ce que cette histoire réunionnaise pourrait avoir lieu dans d’autres territoires ultramarins et comment le favorisé [sic]?
Je ne connais pas bien les contextes culturels des autres territoires, mais c’est vrai qu’il y a eu à la Réunion un truc autour de la BD qui n’a pas eu lieu ailleurs. Il y a plusieurs explications : d’une part la Réunion est le territoire le plus peuplé de l’Outremer, ce qui est un avantage en termes de création culturelle puisque cela signifie un lectorat plus important, ensuite il y a une ancienne tradition du dessin voire de la BD à la Réunion (ce n’est pas vraiment étudié, mais nous l’avons découvert au fur et à mesure) et puis, tout simplement, je pense qu’il s’agissait d’un concours de circonstances, de rencontres qui se sont faites. Ce qui me semble déterminant pour la création, c’est de ne pas être seul : il faut un groupe, une émulation.
Est-ce que la BD pourrait faire évoluer les clichés qui pèsent sur l’univers Outremer ?
Pour le Margouillat, il ne s’agissait pas tant de s’adresser à un public extérieur qu’à un public intérieur. Nos BDs étaient souvent en créole, ou traitaient (maltraitaient en fait) des sujets locaux. On ne s’est intéressés à la question de la représentation de l’île à l’extérieur que bien plus tard, quand plusieurs d’entre nous ont décidé de publier des albums au niveau national. On s’est pointés chez les éditeurs parisiens avec nos histoires réunionnaises, et ça a marché ! Alors oui, j’espère que mes BDs, par exemple, donnent un point de vue nouveau sur la Réunion aux lecteurs extérieurs.
("Le cri du Margouillat, la figure de proue de la BD réunionnaise", Boukan-Le Courrier Ultramarin, https://www.une-saison-en-guyane.com/article/culture/le-cri-du-margouillat-la-figure-de-proue-de-la-bd-reunionnaise/)
*Le margouillat est un lézard ou gecko des savanes africaines et présent sur l'île de La Réunion.
CHAPITRE 8 : "Les Frustrés" (1975-1980) de Claire Bretécher et "Ciboire de Criss !" (1996) de Julie Doucet
Ciboire de criss! de Julie Doucet
Note générale: Chaque enseignant.e peut faire sa propre sélection des histoires courtes (longues d'une planche ou de 2-3 pages, pour la plupart) de cet album selon leur emploi du temps et la décision à prendre vis-à-vis des sujets et des traitements faites de ces sujet par l'auteure. Vous trouverez ci-dessous une liste de certaines de ces histoires avec leur sujet pour faciliter ce choix:
* Introduction (pp. 1-9)
* Thème-La condition féminine: "Alors, pourquoi j'ai eu ce rêve stupide?" (pp. 29-33); "Mon jour de lavage" (pp. 72-73); "Là là, chu tanney là !!! ... ou le rêve récidiviste" (pp. 99-105);
* Humour: "An English lesson" (pp. 32-33)
* Clin d'oeil vis-à-vis de l'héritage bd du XXe siècle: "Introduction" (Astérix) pp. 1-9; "Dirty Plotte vs. Super Clean Plotte" pp. 51-54
* Thème-Être homme: "Regret" (pp. 41-45); "Si j'étais un homme" (p. 62); "Le cran d'arrêt" (pp. 79-90)
* Thème-Inhibitions sociales: "Tout est bien qui finit bien" (pp. 55-57)
Il est important de noter que cet album contient un langage ou une description ou encore un sujet qui pourrait offenser certains étudiant.e.s
CHAPITRE 8 - Les Frustrés (1975-1980) de Claire Bretécher et
Ciboire de Criss ! (1996) de Julie Doucet
Les Frustrés (1975-1980) de Claire Bretécher
Étude de quelques planches
(le-livre.com)
1. Travail de recherche et de présentation. Faites des recherches sur la vie et l'oeuvre de Claire Bretécher, l'auteur des Frustrés. Concentrez-vous sur les moments importants.
Ce travail pourra être présenté oralement en classe sous la forme d'un Powerpoint (nombre de diapositives maximum: 8).
2. Lecture et analyse de la page intitulée "Santé & beauté plastique de la femme". Regardez cette planche de l'album Les Frustrés et répondez aux questions suivantes:
(clairebretecher.com)
| NOTE DE VOCABULAIRE |
| "PLASTIQUE" dans le titrede cette planche ne fait pas allusion à un sac en plastique mais à l'art plastique = fine arts |
a. Selon vous, pourquoi est-ce que cette planche n'a pas de bulle et pourquoi le personnage ne parle-t-il pas? Donnez des précisions. Est-ce que le dessin est complexe ou minimaliste?
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b. Qu'est-ce qui est comique dans cette planche?
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3. Analysez la structure de cette planche. Quel est le rythme du dessin? Y a-t-il des parties distinctives dans cette histoire?
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4. Analysez le titre de cette planche.
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5. Normalement, quand on parle de "beauté plastique de la femme", on pense à la peinture et à la sculpture classiques, comme la peinture de Velazquez ou la sculpture de Rodin :
(Velázquez) (Rodin)
... alors, pourquoi est-ce que Bretécher a choisi ce titre?
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| RAPPEL - LES GENRES ET LES TERMINAISONS | LES NOMS EN -TÉ (COMME BEAUTÉ) SONT FÉMININS LES NOMS EN -URE (COMME PEINTURE) SONT AUSSI FÉMININS -0-O-0- Pourriez-vous trouver 3 autres exemples de noms féminins qui ont d'autres terminaisons? ex: -iee (féminin): la biologie, une bougie, une énergie 1. ...................................................................................... 2. ...................................................................................... 3. ...................................................................................... |
2. Lecture et analyse de la page intitulée "Divorce". Regardez et lisez cette planche de l'album Les Frustrés et répondez aux questions suivantes:
(clairebretecher.com/blog)
a. Suivez cette femme case par case et répondez aux questions suivantes :
Case 1 : D’où est-ce qu’elle part ici ?
Case 2 : Où est-elle ici ?
Traduisez ce qu’elle pense en anglais :
Case 3 : Comment sont les « bulles » de Bretécher ?
Où est la femme maintenant ?
Quelle est sa résolution ?
Case 4 : Où est-elle maintenant ?
Quelle est la signification de « en avoir marre (de) » en anglais:
Quelle est la signification de « faire la bonne » :
Case 5 : [Note : « chuis » est la transcription orale de « je suis »]
[Note 2 : Je vais bien/mal = I am doing well/not well
Je suis bien/mal = I am good-looking/not so good-looking]
Donc, elle peut trouver …………………….. (qui? J !)
Cases 5 et 6 : Où est-elle maintenant ?
Case 7 : [Note : « en avoir ma claque » = to have had it/to be fed up with]
Case 8: Note: “fous jamais rien” [= f.....g do nothing]
Traduction de “vautré” en anglais: ............................
Case 9 : Cette phrase est une métaphore. Quelle est la signification de cette phrase ? Comment la traduiriez-vous en anglais ? ......................................................................
Case 10 : Est-ce que son mari est vautré devant la télé ? OUI NON
Est-ce qu’elle crie sur lui et demande le divorce ? Qu’est-ce qu’elle fait ?
Case 11 : [Note: “avoir la flemme” = to feel lazy]
b. Selon vous, est-ce que Bretécher est féministe ou est-ce qu'elle accuse les femmes dans cette planche? Expliquez. Répondez en un ou deux paragraphes:
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| RÉVISION GRAMMATICALE |
LES PRONOMS Identifiez la signification, la position et l'utilisation des pronoms dans la planche intitulée "Divorce": "il va m'entendre" (2e case) et "je lui dis demain" (dernière case) (consultez la présentation Powerpoint ci-jointe) |
3. Lecture et analyse de la page intitulée "Catéchisme". Regardez et lisez cette planche de l'album Les Frustrés et répondez aux questions suivantes:
(bubblebd.com)
a. Comment s'appelle la jeune femme en robe noire ?
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b. Avec qui est-ce que cette jeune femme en robe noire est en couple ?
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c. Pourquoi est-ce qu'il n'y a pas de dialogue dans la dernière case et pourquoi est-ce que la femme avec une jupe blanche fume?
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d. Où est le comique dans cette planche?
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e. Le dessin de Bretécher est simple mais aussi subtilement complexe. Expliquez.
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f. Est-ce que les bédés de Bretécher sont difficiles à comprendre? Pourquoi ou pourquoi pas?
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Ciboire de Criss ! (1996) de Julie Doucet
(goodreads.com)
1. Ciboire de criss! : approche provocatrice ou fanzine féministe de mauvais goût?
(lassociation.fr)
A. La provocation langagière.
Le titre de cette bédé annonce le ton! Cherchez dans un dictionnaire et donnez la traduction du titre qui est un juron québécois:
Ciboire de criss! : ........................................................... !
et continuez avec l'autre juron québécois présent dans l'album:
une plotte (p. 1) : .....................................................
B. Dès la première planche. Étudiez la première page de l'album de Doucet et identifiez les aspects novateurs et provocateurs que vous pouvez trouver du point de vue narratif et scriptural:
1. La première planche de bd (voir image ci-dessus) présente le sujet de l'album et/ou son contexte. Quelle est l'histoire donc de Ciboire de criss ! et en quoi est-ce une histoire et une présentation provocatrices?
aspect no. 1:
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aspect no. 2:
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2. Qui est le personnage principal? Où se trouve ce personnage-- dans quelles cases se trouve le personnage principal dans cette première planche, datée de 1990?
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3. Quels vêtements le personnage principal porte-t-il dans cette première page? Analysez. À quoi correspondent toutes ces descriptions?
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4. Comment savez-vous qu'il s'agit d'une sorte d'autobiographie dans cet album ?
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C. Figures masculines. Concentrez-vous sur 3 personnages masculins présents dans les histoires de Ciboire de criss ! Qui sont-ils? Que représentent-ils selon vous?
Figure masculine no. 1 :
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Figure masculine no. 2 :
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Figure masculine no. 3 :
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2. Question de synthèse finale. Répondez à la question suivante en petits groupes:
Finalement, que pensez-vous de cette fanzine? Est-ce une présentation qui casse les tabous qui restent encore présents dans la bd du début des années 1990 ou est-ce un album de mauvais goût ? Expliquez
CHAPITRE 9 : "Le chat du rabbin: La Bar-Mitsva" (2002) de Joann Sfar
CHAPITRE 9 - Le chat du rabbin: La Bar-Mitsva (2002) de Joann Sfar (couleur: Brigitte Findakly)
(dargaud.com)
1. Travail de recherche et de présentation. Faites des recherches sur la vie et l'oeuvre de Joann Sfar, l'auteur du Chat du rabbin. Concentrez-vous sur les publications et les moments importants.
Ce travail pourra être présenté oralement en classe sous la forme d'un Powerpoint (nombre de diapositives maximum: 8).
2. Premières questions : compréhension et analyse. Répondez à ces questions oralement ou par écrit après avoir lu les pages 3 à 12 du Chat du rabbin: La Bar-Mitzva.
1. Qui est le narrateur et qui est le personnage principal? Expliquez votre réponse.
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2. Où sommes-nous dans cette bédé? Quel est le temps principal utilisé (le passé, le présent, le futur)?
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3. Que se passe-t-il de la page 8 à la page 12 ?
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4. Est-ce que cette bédé est difficile à comprendre ? Expliquez.
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5. Visuellement, quelle est la structure de chaque page ou planche ? Vous pouvez feuilleter le reste de l'album pour vérifier. Analysez cet aspect visuel.
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CONTINUEZ ET FINISSEZ DE LIRE LE LIVRE ...
| VOCABULAIRE FAMILIER | -coller des baffes (p. 4) = gifler -se tailler (p. 10) = s'enfuir -ficher (p. 20) = mettre -choper (p. 34) = attraper -se fourrer le doigt dans l'oeil jusqu'au coude (p. 42) = avoir tort; se faire de grosses illusions -baiser (p. 43) = faire l'amour -se branler (p. 43) = se masturber -une pute (p. 44) = une putain = une prostituée |
3. Approfondissement historique et géographique. Nous ne sommes sûrs de l'endroit où se passe le tome 1 de la série Le chat du rabbin de Joann Sfar que vers la fin de l'album, à la case 4 de la page 44 où nous lisons "ils vont à la synagogue, ou au marché Randon". Ce marché et cette synagogue existaient bien jusque dans les années 1960, quand la synagogue a été profanée et transformée en mosquée. Ils se situent dans la ville d'Alger, en Algérie. Vous trouverez une carte postale de cet endroit dans les années 1920, époque approximative où se passe l'histoire de Sfar.
(web.nli.org.li)
Pour en savoir plus sur la colonisation de l'Algérie par la France et le statut des Juifs et des Musulmans en Algérie au début du XXe siècle, veuillez lire le texte ci-joint, intitulé "Juifs et Musulmans pendant la colonisation française" et faire une récapitulation chronologique des événements principaux impliquant Juifs et Musulmans en Algérie à l'époque de la colonisation française. La ligne chronologique est démarrée pour vous aider:
1830 1834
-----I-----------------------I------------------------I---------------------------I------------------------I-----------------------I----------
conquête
violente de
l'Algérie par
la France
| PAUSE GRAMMATICALE | Identifiez le temps des verbes soulignés et donner la forme infinitive de chaque verbe: "La seule chose qui pourrait restreindre ma liberté absolue, ce serait qu'on me colle des baffes." (p. 4) "Les richesses du monde devraient être mieux réparties" (p. 7) "Quand bien même il mentirait, papa, est-ce si grave?" (p. 10) "Je lui dis que j'ai acquis un pouvoir dont je me passerais bien" (p. 22) | Révision du conditionnel (conjugaisons régulière et irrégulière, significations et utilisations) |
4. La Bar-Mitsva. Discutez en groupe et expliquez la signification profonde d'une bar-mitsva. Expliquez aussi pourquoi le chat du rabbin insiste sur le fait qu'il veut faire sa bar-mitsva.
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5. Composition au choix.
A. Choisissez deux ou trois des phrases à portée religieuse et/ou philosophique du chat du rabbin et expliquez toutes leurs significations possibles. Voici, par exemple, certaines des phrases du chat (ous n'êtes pas obligé.e.s de choisir celles-ci):
"Depuis que je le sais duplice et hypocrite, depuis que je le vois se débattre entre ses hormones et ses convictions, je l'aime" (p. 48)
"Je lui dis que Dieu est un simulacre rassurant" (p. 20)
"Je lui dis qu'il a été avec moi aussi dogmatique et obtus que certains chrétiens le sont avec les juifs." )p. 15)
B. Expliquez la citation de Sfar" On entre en dessin comme on briserait une glace. On y découvre que l'autre n'existe pas, que les êtres et les choses ne sont pas délimités." (Le Monde des livres, 23 déc. 2005) et explorez ce défi pour ce qui est de la bande dessinée en général et du Chat du rabbin en particulier.
CHAPITRE 10 : "Poulet aux prunes" (2004) de Marjane Satrapi
Exercice d'identification des temps. Profitez de cet exercice pour revoir le(s) temps que plusieurs étudiants ont eu du mal à identifier ou dont ils ont eu des difficultés à expliquer la construction. Il est conseillé alors de se référer à une grammaire de référence pour toutes révisions.
Ex.6. Bédé ou roman graphique? Cet exercice essaie de montrer aux étudiants la problématique de la différentiation forcée entre les genres littéraires et le désir de légitimisation qui s'y exprime. Avec cet exercice, les étudiants devraient probablement arriver d'eux-mêmes à cette conclusion, soit qu'il y a très peu de différence (présence d'une voix autobiographique; autofiction; exofiction) voire aucune différence entre la bande dessinée et le roman graphique.
CHAPITRE 10 - Poulet aux prunes (2004) de Marjane Satrapi
(lassociation.fr)
1. Travail de recherche et de présentation. Faites des recherches sur la vie et l'oeuvre de Marjane Satrapi, l'auteure de Poulet aux prunes. Concentrez-vous sur les publications et les moments importants.
Ce travail pourra être présenté oralement en classe sous la forme d'un Powerpoint (nombre de diapositives maximum: 8).
2. Travail de recherche et de présentation. Faites des recherches sur le contexte historique de Poulet aux prunes. À la première page, l'auteure indique "Téhéran 1958". Expliquez et concentrez-vous sur les moments importants de l'histoire iranienne de la première guerre mondiale jusqu'à 1958. N'oubliez pas d'expliquer la note qui se trouve au bas de la page 5 et la discussion de Nasser Ali et Manoutchehr page 6.
Ce travail pourra être présenté oralement en classe sous la forme d'un Powerpoint (nombre de diapositives maximum: 8).
Lecture de l'introduction
3. Les seize premières pages de Poulet aux prunes forment une sorte d'introduction-récapitulation. Répondez aux questions suivantes avec le plus de détails possible pour mieux situer cette bande dessinée:
1. Qui est Nasser Ali Khan ?
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2. Comment s'appelle la femme dans la première planche, selon Nasser Ali ?
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3. Qu'est-ce qu'un tar ?
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4. Pourquoi Ali Khan est-il très mécontent à la 4e page ?
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5. Combien d'enfants est-ce qu'Ali Khan et comment s'appellent-ils ? Comment s'appelle le fils avec lequel il va à Mashad en car ? Et comment est-ce qu'Ali Khan s'occupe de son fils ?
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6. Qui a brisé le tar et pourquoi ?
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7. Quelle est la décision finale d'Ali Khan et que se passe-t-il le 22 novembre 1958 ?
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IDENTIFICATION DES TEMPS - ENTRAÎNEMENT | Voici des expressions présentes dans l'introducrtion de Poulet aux prunes. Identifiez leur temps et/ou donnez leur traduction en anglais:1. Vous ne vous appelleriez pas Irâne?2. J'ai dû vous confondre3. Laissez-le reposer dans un endroit bien sec4. Sa tonalité sera parfaite5. Ne vous énervez pas!6. On avait rendez-vous à 10h7. Mossadegh nationalisa le pétrole iranien8. Tout dégénère ...9. Tous ceux qui l'avaient connu étaient présents |
Lecture du reste de Poulet aux prunes
4. La structure et l'analyse de Poulet aux prunes. Il est quelquefois intéressant d'analyser la structure et la forme d'un roman, d'une pièce de théâtre ou d'une bédé, quelquefois aussi appelée "roman graphique". Répondez aux questions suivantes en groupe:
a. Comptez le nombre de pages pour chaque partie de Poulet aux prunes :
Introduction : 16 pages
1er jour - 15 novembre 1958 :
2e jour - 15 novembre 1958 :
3e jour - 15 novembre 1958 :
4e jour - 15 novembre 1958 :
5e jour - 15 novembre 1958 :
6e jour - 15 novembre 1958 :
7e jour - 15 novembre 1958 :
8e jour - 15 novembre 1958 :
b. À quoi correspond chacun des huit jours ?
1er jour - 15 novembre 1958 :
2e jour - 15 novembre 1958 :
3e jour - 15 novembre 1958 :
4e jour - 15 novembre 1958 :
5e jour - 15 novembre 1958 :
6e jour - 15 novembre 1958 :
7e jour - 15 novembre 1958 :
8e jour - 15 novembre 1958 :
c. Que pensez-vous de la structure globale de ce roman graphique ? Y voyez-vous une signification ?
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d. Que pensez-vous de sa structure en flashback ?
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e. Y a-t-il une morale dans cette histoire ? S'agit-il d'un conte et/ou d'un drame ? S'agit-il d'une histoire métaphorique?
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f. Ce roman graphique est dessiné en noir et blanc. Selon vous, quelle est l'impact du choix du noir et blanc sur les lecteurs et notre interprétation de l'histoire ?
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5. Livre comique ou tragique ? Poulet aux prunes joue avec les stéréotypes, le grotesque et l'ironie humoristique. Que pensez-vous d'un passage, comme celui qui se trouve vers la fin du quatrième jour, où on voit la famille de Mozaffar aux États-Unis?
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6. Bédé ou roman graphique? Le terme de "roman graphique" est apparu dans les années 1960 mais a commencé à être vraiment connu et utilisé vers la fin du XXe siècle. Pourriez-vous faire des recherches et trouver 3 aspects qui différencient la bande dessinée du roman graphique?
| bande dessinée | roman graphique |
- - - | - - - |
Puis, discutez en groupe des différences que vous avez trouvées en prenant un exemple de bédé étudiée ce semestre (Astérix légionnaire ou L'Ile noire) et le roman graphique de Satrapi. Pouvez-vous trouver des différences? Si oui, lesquelles?
| bande dessinée (Astérix ou Tintin) | roman graphique (Poulet aux prunes) |
- - - | - - - |
7. Composition . Sujet: Qu'est-ce qu'un poulet aux prunes et pourquoi pensez-vous que Marjane Satrapi a donné ce titre à ce roman graphique?
CHAPITRE 11: "Aya de Yopougon" (2005) de Marguerite Abouet et Clément Oubrerie
CHAPITRE 11: "Aya de Yopougon" (2005) de Marguerite Abouet et Clément Oubrerie
(gallimard.fr)
Commencez à lire les pages 1-33
1. Vocabulaire. Notez les mots nouveaux que vous allez lire en vous aidant du lexique trouvé en fin de livre (p. 98). Deux exemples vous sont déjà donnés :
| lexique africain | synonyme |
-un géniteur (p. 2) -une gazeuse/gazer (p. 2) - - - - - - | -un père -une fêtarde/sortir en boîte - - - - - - |
2. Qui est Marguerite Abouet ? Faites des recherches sur l'internet sur Marguerite Abouet et regardez cet entretien d'Abrouet, qui date de 2010 (8 mn 30):
https://aalbc.com/authors/author.php?author_name=Marguerite+Abouet
Puis répondez aux questions suivantes:
a. Marguerite Abouet est-elle dessinatrice ou scénariste ?
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b. Qu'est-ce qui a frustré Abouet lorsqu'elle est allée à au festival de la bd à Abidjan ?
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c. Comment a-t-elle décidé de résoudre ce problème ? Répondez en détails :
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e. Quelle était la situation de Marguerite quand elle était jeune ? Comment est-elle venue en France ?
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f. Quelle critique a-t-elle envers les Ivoiriens, elle qui est ivoirienne d'origine ?
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Continuez et lisez les pages 34-96
3. La satire et le grotesque. En groupe, discutez et trouvez 5 éléments qui renforcent l'aspect satirique de cette bande dessinée. N'oubliez pas d'inclure le dessin mais aussi le choix des mots, les cartouches, etc... :
a.
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b.
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c.
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d.
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e.
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RÉVISION GRAMMATICALE - la voix passive | Expliquez la formation grammaticale des 2 expressions suivantes et de la voix passive en général : 1. On est invités chez mon patron (p. 22) 2. Je serai payé le double (p. 50) |
Finissez de lire la bd
4. Le cadre historique d'Aya de Yopougon. Aya de Yopougon 1 se passe en 1978, comme l'indique la première page. Elle se passe à Abidjan, en Côte d'Ivoire à une période souvent considérée comme celle du "miracle ivoirien". Pourriez-vous faire des recherches et expliquer ce terme et cette période historique en Côte d'Ivoire ?
a.
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b. Selon vous, pourquoi l'autrice a décidé de ne pas placer cet histoire au début des années 2000 ?
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5. Vision auto-ethnographique. Pourriez-vous analyser la vision auto-ethnographique de cette bédé où certains personnages sont à dimensions multiples (alors que d'autres sont assez stéréotypés) et où sont présentes la nouvelle génération et l'ancienne génération ainsi qu'une certaine image de la trans-culturation dans les vêtements, les professions, les boissons etc... ? En un mot, quelle est l'image qui ressort de la Côte d'Ivoire et des habitants d'Abidjan à la fin des années 1970 ? Est-elle complexe ou non ? Expliquez.
CHAPITRE 12: "Moi René Tardi, prisonnier de guerre au Stalag IIB" (tome 1; 2012) de Tardi
Les questions et sujets abordés dans ce dernier chapitre sont à un niveau supérieur de ceux présentés dans les premiers chapitres. Le choix même de cette bande dessinée indique un niveau de lecture et de connaissance du français soutenu de la part des étudiants. Les questions et activités sont donc un peu moins ludiques et plus complexes.
CHAPITRE 11 - Moi René Tardi, prisonnier de guerre au Stalag IIB (tome 1; 2012) de Tardi
(tcj.com)
1. La bd historique en France. Lisez le texte intitulé "La BD historique française" (voir ci-joint) et répondez aux questions suivantes:
a. La bd historique française naît combien d'années après la naissance de la bd?
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b. L'introduction de cette présentation suggère qu'Alix de Jacques Martin est l'une des premières bandes dessinées historiques françaises. Le premier album de la série Alix a été publié en 1948. Quels sont les grands noms de la bd francophone à la même époque?
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c. Le genre de la bd historique francophone a vraiment connu un essor à la fin du XXe siècle. Mentionnez quatre faits qui prouvent cette montée très nette en popularité:
i.
ii.
iii.
iv.
d. Quels sont les avantages et les défis de la bd historique?
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e. Quels sont les cinq sous-genres de la bd historique et quelles sont leurs spécificités?
i.
ii.
iii.
iv.
v.
2. Tour d'horizon de la bd historique dans le monde francophone en dehors de l'Europe.
Le récit historique jouit aussi d'une grande popularité à travers le monde francophone, ne serait-ce que pour partager et redécouvrir son histoire et ses héros avec des lecteurs jeunes et moins jeunes.
Ainsi, Christophe Cassiau-Haurie (scénariste), Luko (dessinateur) et J-F Chanson (découpeur) ont publié Bissette élu député : 1849, quand des esclaves deviennent électeurs (Caraïbéditions, 2016). L'album s'ouvre sur la carte d'un bateau transportant des esclaves, à la fin du XVIIe siècle, d'Afrique aux colonies des Amériques pour travailler dans les champs de canne à sucre. Il raconte le combat d'un homme de couleur, Cyrille Bissette, né en Martinique dans une famille de couleur libre.
(kazabulmartinique.com)
Banni des colonies pour son combat pour l'abolition de l'esclavage, il travaille en metropole pour mener ce combat à bien. Il revient finalement en Martinique où il a joué un rôle important dans l'abolition de l'esclavage, malgré sa rivalité avec Victor Schoelcher.
De même, les éditions L'Harmattan ont publié, en 2013, un recueil de bd d'auteurs du Tchad, du Maroc, du Cameroun, du Togo/Bénin, du Mali et de Tanzanie, intitulé Sommets d'Afrique.
(amazon.com)
Massif de l'Atakora est une histoire, longue de sept planches seulement, qui se moque des disputes territoriales entre le Togo et le Bénin. Kilimandjaro, elle aussi, est une bédé courte qui ironise sur la manière dont la reine Victoria a offert le Kilimandjaro en cadeau d'anniversaire à Wilhelm, son petit-fils, en déplaçant les frontières coloniales.
Les îles du vent 1 d'Elodie Koeger et Hector Poullet (Caraïbéditions, 2009) raconte, dans un petit format de poche et en noir et blanc, la situation difficile des Haïtins sans papier à la Guadeloupe au début du XXIe siècle. Cette bédé tente aussi de montrer la complexité des relations entre blancs d'origine française et Antillais.
(amazon.com)
Cette présentation n'entend que donner quelques exemples de bandes dessinées francophones actuelles. Il en existe bien d'autres ... n'hésitez pas à faire des recherches!
Moi René Tardi
"Nos pères, ces héros sans gloire ..." (p. 5)
3. Introduction et questions de compréhension. Répondez aux questions suivantes tout en commençant à lire le livre (pp. 5-25) :
a. Lisez l'introduction et identifiez les motivations de Tardi, le dessinateur, quand il écrit et dessine cette bd.
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b. Tardi remercie sa fille, Rachel Tardi, "pour sa mise en couleurs" (p. 12), dans l'introduction. Feuilletez ce livre et parlez des couleurs utilisées part sa fille. Analysez le choix de ses couleurs.
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c. Où se trouvait le Stalag IIB ? Consultez la carte aux pages 16-17.
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d. Qui est le personnage à la première page (p. 19) ?
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e. Qui parle dans les bulles rectangulaires ?
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f. Le ton, dès la première page de cette bande dessinée, est ironique. Pourriez-vous trouver quatre exemples de cette ironie ? Pour chaque exemple, identifiez l'objet de l'ironie.
i. .............................................................................................................................................
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g. La dernière case de la page 23 présente le grand-père du dessinateur, père du héros qui est le sujet de Tardi dans ce livre. Comment est-ce que le père du dessinateur décrit son propre père ?
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h. Pourquoi le narrateur s'écrie-t-il, dans la dernière case de la page 25: "J' te comprends pas!" ? Qu'est-ce qu'il exprime de profond ici?
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4. Pourriez-vous compléter les 2 cases ci-dessous avec une dizaine de mots dans chaque?
| VOCABULAIRE | VOCABULAIRE/EXPRESSIONS POPULAIRES OU GROSSIÈRES |
ex : l'avoine (p. 19) = oats - - - - - - - -
| ex : fermer son clapet (p. 19) = se taire - - - - - - - -
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Continuons notre lecture (pp. 26-51)
4. Questions de compréhension. Répondez aux deux questions suivantes, en petit groupe, tout en continuant la lecture du livre (pp. 26-51) :
a. Moi René Tardi est une bande dessinée remplie de détails sur la seconde guerre mondiale. Donnez plusieurs exemples de détails et exactitudes historiques présentés par l'auteur:
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b. Maintenant que vous avez lu une cinquantaine de pages, pourriez-vous analyser la mise en image ou la structure de la planche chez Tardi? Selon vous, pourquoi est-ce que Tardi a adopté cette structure? Y a-t-il un impact sur les lecteurs et lectrices?
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Pendant que vous continuez à lire ... (pp. 52-77)
RÉVISION DU PASSÉ SIMPLE (Moi René Tardi, p. 77, dernière case) | "Les officiers furent séparés de la troupe et embarquèrent pour les Oflags. Nous n'en revîmes plus ...".1. Notez les verbes au passé simple et donnez leur signification. 2. Expliquez la formation de chaque verbe. Verbe régulier ou irrégulier au passé simple? Quelles sont les formes régulières au passé simple? 3. Qu'est-ce qui distingue le verbe "furent séparés" du verbe "embarquèrent" du point de vue grammatical? |
Et ensuite ... (pp. 78-111)
5. Questions de compréhension. Répondez aux deux questions suivantes, en petit groupe, tout en continuant la lecture du livre (pp. 78-111) :
a. Le narrateur de Moi René Tardi est une figure complexe, dessiné en garçon d'une dizaine d'années. Pour lui, est-ce que son père est un héros ou un anti-héros?
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b. À la page 30 et aussi aux pages 49 et 111, le narrateur s'écrie: "PAPA!" Pourquoi? Expliquez en détails:
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Et pour finir ... (pp. 112-188)
6. Composition finale. Répondez à l'une des questions suivantes :
a. Quelle est la signification de "Moi", premier mot du titre de la bande dessinée ?
ou
b. Moi René Tardi prisonnier de guerre au Stalag IIB : est-ce un roman graphique historique ou un roman familial et mémoriel?
Conclusion et ouverture
L'importance et la diversité de la bande dessinée francophone n'est plus à prouver. En France seulement, il y a plus de 5 000 nouvelles parutions de bédés par an aujourd'hui. L'espace francophone européen compte plus de 380 éditeurs de bandes dessinées. En France, la bande dessinée est le deuxième segment du livre le plus vendu après la littérature générale; cela revient à 1/4 des livres vendus dans l'hexagone, soit 85 millions d'exemplaires vendus par an1 et 900 millions d'euros de chiffre d'affaires par an, en France.2 Par comparaison, l'industrie américaine et canadienne de la bande dessinée est à presqu' un milliard et demi d'euros de chiffre d'affaires par an.3 En outre, près de 30% des titres de bd francophones européennes sont vendus à l'exportation, en traduction.1
Il est donc impossible, dans ces conditions, d'être exhaustif. Le domaine de la bande dessinée se porte bien en francophonie au-delà de l'Europe, même s'il est certain que des problèmes économiques, structurels et politiques ralentissent l'accès à la publication. Pourtant, une grande partie de la jeunesse africaine a grandi, de la fin des années 1960 à la fin des années 1990, en lisant, si elle pouvait se permettre de l'acheter ou encore de le louer des kiosquiers, le magazine Kouakou, publié en République Centrafricaine et destiné aux enfants de dix ans. Il s'agissait d'aventures qu'ont un jeune garçon africain et ses deux amis, aventures mêlées de science-fiction et de références à la tradition. Les lecteurs de Kouakou sont maintenant des adultes friands de bédé. Il existe des petites maisons d'édition, comme DBDO (Des Bulles Dans l'Océan) à Madagascar, qui essaient de publier des bandes dessinées et romans graphiques de tous genres, en tentant de s'échapper de l'étiquette "exotique" qu'on assigne vite à tout produit non-européen.4 À noter aussi qu'il existe, depuis 2016, un nouveau festival de bande dessinée Bilili à Brazzaville, au Congo, qui rassemble plusieurs milliers de visiteurs.5 En France et même s'il s'agit d'une production limitée, L'Harmattan publie, depuis 2010, un ou deux albums d'auteurs africains par an dans la collection L'Harmattan BD. Il est probable que l'ouverture du continent au digital pourra permettre une plus grande distribution et un accès plus facile à des maisons d'édition.
La grande popularité de la BD européenne francophone, en particulier, se voit à tous niveaux; elle inclut toutes sortes de genres et d'âges, de la bédé pour très jeunes (5-8 ans), comme les séries Petit Poilu (avec très peu de mots pour les tout-petits) et Anatole Latuile, un écolier qui se trouve toujours dans des situations problématiques. La collection Les Enfants de la Résistance met en scène plusieurs enfants de treize ans, qui, pendant la seconde guerre mondiale, décident de créer uneorganisation secrète de résistance contre l'occupation allemande. Cette série belge s'adresse essentiellement à des enfants de 10-13 ans. Mais la bd contemporaine ne s'arrête pas là : on y trouve de nombreuses adaptations de romans qui sont d'ailleurs souvent utilisées dans les collèges. On y trouve aussi des contes écologiques, tel Unikarb ou Le Monde sans fin, miracle énergétique et dérive climatique, des séries fantastiques, et par-dessus tout, des mangas françaises (surnommées "manfras" ou "frangas"), même si elles sont d'inspiration japonaise, énormément populaires (avec adaptations sur Netflix), telle Radiant, qui fut la première manga française adaptée en anime au Japon en 2015. De plus, on compte de très nombreux biopics, des romans graphiques, historiques, fantastiques et de la bédé de science-fiction. N'oublions pas non plus que les éditions Dargaud publient une revue digitale depuis 2020, Mâtin, qui propose, tous les matins, une bande dessinée inédite de dix cases. La revue a commencé à publier des albums de bd en 2022. Le nombre de leurs abonnés dépasserait les 100 000. Finalement, on doit aussi tenir compte, dans l'horizon de la bande dessinée francophone européenne aujourd'hui, de la BD audio BLYND, une application qui est un partenariat entre éditeurs et acteurs francophones et propose des séries audio-immersives avec plus de 1000 abonnés.
En un mot, le paysage médiatique de la bande dessinée francophone est des plus riches et n'a pas l'air de perdre souffle! En effet, ce marché correspond à une logique économique : l'engouement pour la bd, avec, par exemple, les mangas, correspond à une montée du pouvoir d'achat d'une génération maintenant adulte, qui avait pris goût au genre lorsqu'ils étaient enfants et adolescents.
(animenewsnetwork.com)
1. Tous les chiffres présentés ici au sujet de la production de la bande dessinée francophone européenne proviennent de Marie-Laurence de Rocher, "AIF 2022 - Industries culturelles et créatives - Tendances littéraires BD", 4 juillet 2022, https://www.youtube.com/watch?v=SOA4_YCEOeg.
2. Nicolas Richaud, "Le marché de la BD bat tous ses records, à près de 900 millions d'euros en 2021", Les Echos, 27 janvier 2022, https://www.lesechos.fr/tech-medias/medias/le-marche-de-la-bd-bat-tous-ses-records-a-pres-de-900-millions-deuros-en-2021-1382570#:~:text=Intelligence%20artificielle-,Le%20march%C3%A9%20de%20la%20BD%20bat%20tous%20ses%20records%2C%20%C3%A0,millions%20d'euros%20en%202021.
3. "Comic Book Market Size, Share & Covid-19 Impact Analysis", Fortune Business Insights, Jan. 2022, https://www.fortunebusinessinsights.com/comic-book-market-103903.
4. Voir à ce sujet: Laure Verneau, "Madagascar, place forte de la bande dessinée en Afrique", Le Monde, 7 avril 2022, https://www.lemonde.fr/afrique/article/2022/04/06/madagascar-place-forte-de-la-bande-dessinee-en-afrique_6120911_3212.html.
5. Voir à ce sujet: Roxana Azimi, "L'Afrique, l'autre continent de la bande dessinée", Le Monde, 4 déc. 2020, https://www.lemonde.fr/afrique/article/2020/11/29/l-afrique-l-autre-continent-de-la-bande-dessinee_6061537_3212.html.
Liste d'onomatopées en français
Cette liste peut être aussi courte ou aussi longue que vous le désirez. N'hésitez pas à l'adapter au niveau et aux capacités de vos apprenants. La présentation Powerpoint ci-jointe est proposée comme exercice d'échauffement pour la classe.
Commencez à vous exercer !
1. Ouvrez le Powerpoint ci-joint et trouvez les onomatopées françaises correspondant aux images.
Combien en connaissez-vous au total?
2. Pour en savoir plus et apprendre quelques onomatopées de plus en français, consultez les sites suivants :
https://www.btb.termiumplus.gc.ca/tpv2guides/guides/clefsfp/index-fra.html?lang=fra&lettr=indx_catlog_o&page=96XtBxKUbdIg.html
et
http://www.les-onomatopees.fr/liste-onomatopees.php
N'hésitez pas à chercher d'autres sources! Elles sont nombreuses.
Bibliographie
Bibliographie1
Abouet, Marguerite et Clément Oubrerie. Aya de Yopougon. T. 1. Paris: Gallimard, 2005.
Azimi, Roxana. "L'Afrique, l'autre continent de la bande dessinée", Le Monde, 4 déc. 2020, https://www.lemonde.fr/afrique/article/2020/11/29/l-afrique-l-autre-continent-de-la-bande-dessinee_6061537_3212.html.
B., David, Martin, Jacques et Giorgio Albertini. Alix: Le Dieu sans nom. T. 39. Paris: Casterman, 2020.
Blanchard, Gérard. Histoire de la bande dessinée. Bruxelles: Marabout, 1969.
Cassiau-Haurie, Christophe. Histoire de la BD congolaise. Paris: L'Harmattan, 2010.
Caumery & Pinchon. Les aventures de Bécassine. Paris: Archives de la Bnf, https://data.bnf.fr/fr/14618815/caumery_joseph_porphyre_pinchon_becassine/
"Comic Book Market Size, Share & Covid-19 Impact Analysis", Fortune Business Insights, Jan. 2022, https://www.fortunebusinessinsights.com/comic-book-market-103903.
Delorme, Isabelle. Quand la bande dessinée fait mémoire du XXe siècle. Dijon: Les Presses du réel, 2019.
de Rocher, Marie-Laurence. "AIF 2022 - Industries culturelles et créatives - Tendances littéraires BD", 4 juillet 2022, https://www.youtube.com/watch?v=SOA4_YCEOeg.
Doucet, Julie. Ciboire de criss! Paris: L'Association, 2004.
Falardeau, Mira. Histoire de la bande dessinée au Québec. Montréal: vlb, 2008.
Forsdick, Charles. "Exoticising the Domestique: Bécassine, Brittany & the beauty of the Dead in Francophone Bande dessinée", in The Francophone Bande Dessinée, eds. C. Forsdick & L. McQuillan. Amsterdam: Rodopi, 2005, pp. 23-37, https://doi.org/10.1163/9789401201964_004.
Goscinny, René et Albert Uderzo. Astérix légionnaire. Paris: Dargaud, 1967.
Hergé. L'Île noire. Paris: Casterman, 2000.
--- Les Bijoux de la Castafiore. paris: Casterman, 1990.
Kerrien, Fanny & Jean Auquier. L'invention de la bande dessinée: Dossier pédagogique. Bruxelles: Centre belge de la bande dessinée, 2013, https://www.cbbd.be/uploads/fichiers/pages/invention-de-la-bd-web.pdf.
MacLeod, Catriona. "Sex & Death in Québec: female autobioBD & Julie Doucet's changements d'adresses", European Comic Art. Vol. 5, issue 1, 2012.
Maigret, Eric & Matteo Stefanelli. La bande dessinée: une médiaculture. Paris: Armand Colin, 2012.
McQuillan, Libbie. "Introduction", in The Francophone Bande Dessinée, ed. C. Forsdick & L. McQuillan. Amsterdam: Rodopi, 2005, pp. 7-14.
Miller, Ann & Bart Beaty (eds). The French Comics Theory Reader. Louvain: PU de Louvain, 2014.
Peeters, Benoît. Hergé, fils de Tintin. Paris: Flammarion, 2006.
Peyo. Les Schtroumpfs noirs. Paris: Dupuis, 1963.
Richaud, Nicolas. "Le marché de la BD bat tous ses records, à près de 900 millions d'euros en 2021", Les Echos, 27 janvier 2022, https://www.lesechos.fr/tech-medias/medias/le-marche-de-la-bd-bat-tous-ses-records-a-pres-de-900-millions-deuros-en-2021-1382570#:~:text=Intelligence%20artificielle-,Le%20march%C3%A9%20de%20la%20BD%20bat%20tous%20ses%20records%2C%20%C3%A0,millions%20d'euros%20en%202021.
Satrapi, Marjane. Poulet aux prunes. Paris: L'Association, 2004.
Sfar, Joann. Le chat du rabbin: la Bar Mitzva. T.1. Paris: Dargaud, 2002.
Tardi. Moi René Tardi, prisonnier de guerre au Stalag IIB. T. 1. Paris: Casterman, 2012.
Verneau, Laure. "Madagascar, place forte de la bande dessinée en Afrique", Le Monde, 7 avril 2022, https://www.lemonde.fr/afrique/article/2022/04/06/madagascar-place-forte-de-la-bande-dessinee-en-afrique_6120911_3212.html.
1. Veuillez noter que cette bibliographie n'est pas exhaustive
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oercommons
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2025-03-18T00:34:21.892741
|
08/04/2022
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/96161/overview",
"title": "QA4U -- Bandes dessinées francophones",
"author": "Thomas Jones"
}
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https://oercommons.org/courseware/lesson/75512/overview
|
The Constitution and Congress
Overview
The nation’s founders believed Congress to be the fundamental institution of the federal government, since it is the body that most closely represents the people. The framers of the United States Constitution began by creating Congress. Then they established the other two branches of government—the executive branch and the judicial branches.
The Constitution gives each branch distinct powers, but it makes sure that the three are in competition. Each branch has its own ways to check and balance the powers of the other two. The separation and balance of powers has contributed to the government’s enduring vitality, providing order and stability while allowing flexibility for adaptation and change.
The Constitution and Congress
The nation’s founders believed Congress to be the fundamental institution of the federal government, since it is the body that most closely represents the people. The framers of the United States Constitution began by creating Congress. Then they established the other two branches of government—the executive branch and the judicial branches
The Constitution gives each branch distinct powers, but it makes sure that the three are in competition. Each branch has its own ways to check and balance the powers of the other two. The separation and balance of powers has contributed to the government’s enduring vitality, providing order and stability while allowing flexibility for adaptation and change.
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oercommons
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2025-03-18T00:34:21.920922
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12/09/2020
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{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/75512/overview",
"title": "The Constitution and Congress",
"author": "OER LIBRARIAN"
}
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https://oercommons.org/courseware/lesson/66210/overview
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The Development of Drama in Greece
1). Drama is the most perfect form of literary art. Aristotle traces traces the stages of the rise of drama. It has originated in from the rituals associated with the festivals of Dionysus. Dionysus is a very interesting god . Originally he was not a Greek god. He came on the way from east but soon became very popular god . He had many functions. He was god of wine , ectasy, inspiration and prophecy. He was also the god of poetry, drama, and culture. He was, above all, the saviour god like Jesus. He died a violent death and then came back to life . Christians believe that Jesus died on the cross and on third day came back to life . They celebrate his death and resurrection. The followers of Dionysus celebrated his resurrection exactly as the Christians do . They celebrated his resurrection by eating a piece of bread and wine and thought that they were eating his flesh and blood. It was celebrated with great deal of enthusiasm and ecstasy. This was celebrated once in a year in spring . So the people had to meet at one place to celebrate his death and resurrection.
The earliest form of celebration was dance and choral song . There would be a group of singers who would dance in a circle and sing a song about Dionysus, his life and particularly his death and resurrection. The songs were sung with gestures and movements. From this developed the first stage of drama.
2) The next stage was that when the leader of the chorus was separated from the chorus and dialogue between the leader and the chorus took place. Dialogue was the exchange of questions and answers. The chorus would ask rhetorical questions and the leader would give the replies in the form of singing. So this became a sort of drama . If the story of Imam Hussain is related on stage it would become that type of ritual but this would be the sad drama. The Muslims also celebrate this occasion but there is difference ... The occasion with sadness and with a very sad end but those celebrations ended with a happy end because Dionysus came to life back. There was a kind of lamentation when they talked about his death buy the occasion did end with happy note, with anew note and with a new life . To them nature would come to life back, which was dead , on this occasion with the resurrection of Dionysus .
3) Then we have the writes Thespis who introduced a new actor , who was not a part of the chorus. He acted along with the leader of the chorus the story of Dionysus. So we had the actor playing different roles.
4) Then came Aeschylus, a great playwright. He introduced a second actor and developed the play in magnitude . He made dramatic part more important than the choral part. Secondly he introduced the mask , the dress and shoes actors wore . long shoes were essential dress used in tragedy , was introduced by him. The great contribution was that he did not use the story of Dionysus alone but introduced stories about other heroes. The heroes were taken from Greek mythology. Thus, the dramatic part was not confined to Dionysus.
5) Then came Sophocles . He introduced the third actor . Now dramatic part became more important than the choral part. Chorus was still there but it was going to the background. While the dramatic part was coming to the foreground. To Sophocles the artistic construction of plot is owed. His plot has a proper beginning, transitional middle and convincing end. What is more important according to Aristotle is discovery and reversal. Sophocles showed sufficient skill in handling the discovery. He brought about the discovery in the course of logical development of the story.His manner is the most perfect and artistic. So here tragedy reaches its peak.
Aristotle considers Euripides to be a great playwright but according to him the declined had already started . Aristotle is not concerned with the religious view of Euripides, but talking about art. He is the last man .After that drama went on declining. It became imitative . Here again we see the infancy, youth,maturity, decline and then death of drama. These are the various stages of the development of drama and is the highest and last stage of the development of poetry.......
.....
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oercommons
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2025-03-18T00:34:21.935708
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05/05/2020
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{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/66210/overview",
"title": "Kalai Nathiyal",
"author": "Kalai Nathiyal"
}
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https://oercommons.org/courseware/lesson/115127/overview
|
Rational and Irrational Numbers
Overview
An Introduction to Rational and Irrational Numbers for Academic Coaching students, before introducing the unit in the general education curriculum classes.
Rational and Irrational Numbers
This lesson introduces my Academic Coaching students to rational and irrational numbers before they are introduced to them in their Pre-Algebra General Education Class. My aim is not for mastery, but to give students confidence when the general education curriculum introduces the material. I try to stay a week ahead of the general education teachers, so my students are more willing to participate in their general education classes when they have some prior knowledge and feeling confident.
Effective Instructional (Lesson) Outline
Darlington County School District
Falcon Focus: Write in Daily Writing Journal (3 or more sentences)
Academic Coaching: Lorraine Hall Rational and Irrational Numbers
Standard: _7.NS.1___
Focus Question: Can we classify the number system as rational and irrational?
I Do: Vocabulary: Integer, irrational number, pi, rational number, real number, repeating decimal, square root, terminate, whole number. (Board Activity) https://puzzlemaker.discoveryeducation.com/word-search/result Students watch the video as a group, pausing of video for class discussion and extra modeling Introduction: https://www.flocabulary.com/unit/rational-irrational-numbers/ and. We Do: https://www.flocabulary.com/unit/rational-irrational-numbers/vocab-cards/ You Do CFU: https://create.kahoot.it/details/a96ef8f4-4f82-478f-9818-749a94a56 Summary: Students will give an example of a classification called out by the teacher. Assessment: https://www.flocabulary.com/unit/rational-irrational-numbers/quiz/ |
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oercommons
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2025-03-18T00:34:21.956566
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04/11/2024
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/115127/overview",
"title": "Rational and Irrational Numbers",
"author": "Lorraine Hall"
}
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https://oercommons.org/courseware/lesson/115630/overview
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joan and john bird
Kennedy_1961
Kennedy_1961
Space Race
Overview
This OER is copied from the Digital Public Library of America's Primary Source Set on the space race. See the original resource here: https://dp.la/primary-source-sets/space-race. Original author: James Walsh, Scott County High School, Georgetown, Kentucky.The Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.
Overview
Title image, "Satellite, Explorer I," from the Smithsonian Institution.
From 1945 to 1991, the United States and the Union of Soviet Socialist Republics (USSR) engaged in the Cold War, a conflict in which the communist Soviet Union and the democratic United States competed for influence over countries around the world. During this era, the US and USSR also took their rivalry beyond earth into space through a series of aeronautic developments and flight tests known as the Space Race. After advances in defense technology during World War II and the United States’ use of atomic bombs, each side looked to propel its scientific and technological capability forward by building new missiles, rockets, and spacecraft. The Soviets had many early successes in the Space Race, including the launch of the first satellite, Sputnik (1957), and the first man in space, Yuri Gagarin (1961). However, the United States caught up and eventually overtook the Soviet Union, particularly when American astronaut Neil Armstrong and the crew of the Apollo 11 mission became the first humans to land on the moon in 1969.
The Space Race witnessed extraordinary feats of courage, intelligence, and ingenuity as astronauts and cosmonauts made voyages that previous generations thought were impossible. It also involved deception and espionage as the US and USSR competed for technological advantages. Both sides imprisoned, exchanged, and executed spies to protect these scientific secrets. The Space Race yielded many impressive achievements: putting humans into space, inventing new rocket technologies, launching satellites into orbit, and landing people on the moon. The race also resulted in frightening and powerful technology, including the development of thousands of nuclear missiles strong enough to destroy much of the earth. This set focuses on the Space Race during the mid-1950s and 1960s and examines the impact of the Space Race today. The selected documents, clips, and images raise questions about who “won” the race and shed light on the paradox of the Space Race—a period of tremendous scientific advancement that also yielded destructive technology and weapons.
This primary source set was copied from the Digital Public Library of America. It was created by James Walsh of Scott County High School, Georgetown, Kentucky.
Teaching guide
Discussion questions
- Based on the explanation of the “Open Skies” policy in the speech by Senator Lodge, if the Soviet Union had adopted more transparency, how might the Space Race, or the Cold War itself, have changed?
- What impact did the launch of Sputnik have in the United States, as reflected in the “Another Race We Can Lose” cartoon? How do you think Americans felt about a second Soviet satellite launch so quickly after Sputnik I and the inclusion of a dog based on the trading card featuring Laika?
- Using the account by the American official in the 1958 news clip, how did the early Soviet success impact the United States and push its space program?
- How did Space Race espionage efforts benefit from satellite technology, like the Explorer I and the Corona program described in the paper about the missile gap between the US and USSR? What role did espionage, or spying, have in the Space Race?
- Given the reflection by the Air Force general in the 1960 news clip, what connection did the Space Race have to the nuclear arms race? What do you think the general meant when he said that rocket technology could be used to propel “things” into orbit?
- Based on the 1961 political cartoon featuring Yuri Gagarin and the excerpt from President Kennedy’s speech, what role did the success of Yuri Gagarin’s flight have in influencing American policy? Based on the excerpt from President Kennedy’s speech about urgent national needs, what was the United States prepared to spend? Where did they intend to go? What reasons does Kennedy give for investment in the space program?
- Compare and contrast the 1962 news clip of the Centaur explosion with the 1969 footage of the Apollo 11 lunar landing. How did previous setbacks make the moon landing possible? Describe the activities and tasks of the astronauts once on the moon. What stands out to you about the moon footage?
- Given the Soviet Union’s early successes in the Space Race, what do the model of the Soviet N-1 rocket and the chart of Soviet space program costs tell you about the costs of the Space Race for the Soviet Union? Based on your prior knowledge or outside research, what else was taking place politically, economically, and socially in the Soviet Union during the 1970s and 1980s?
- How might the Strategic Defense Initiative described in the 1988 news clip demonstrate a shift from prior motivations behind the Cold War Space Race?
- How does the diagram of the International Space Station demonstrate a post-Cold War world? In what ways does the International Space Station represent a change in space research compared to the 1950s?
Classroom activities
Ask students to use the sources in this set and others from DPLA to identify materials that show multiple, contrasting perspectives on the Space Race. Students might look for political cartoons, propaganda posters, and other sources that represent both American and Soviet perspectives on the Space Race. Students will analyze their selected sources in the context of the Cold War and present their findings to the class in the format of their choice, which might include a slide presentation, a gallery walk, a written argument, etc.
Primary source overview
Question 1
Source: An excerpt from a speech by Senator Henry Cabot Lodge, Jr. about President Eisenhower’s “Open Skies” proposal to the United Nations, 1962.
Senator Lodge describes the proposed Open Skies program, which was intended to de-escalate the Cold War and provide more transparency for technological and military developments. The Open Skies program would have allowed reconnaissance operations to have open access to the skies above both the US and USSR. The Soviet Union rejected this plan, which contributed to the launch of the Space Race.
- Based on the explanation of the “Open Skies” policy in the speech by Senator Lodge, if the Soviet Union had adopted more transparency, how might the Space Race, or the Cold War itself, have changed?
Question 2
Sources:
A 1957 American political cartoon titled “Another Race We Can Lose.”
This political cartoon from a St. Louis newspaper sums up America’s despair over the successful Soviet launch of Sputnik, the first satellite to orbit the earth. This cartoon alludes to the warming relations between the Soviet Union and India, a formerly neutral country in the Cold War.
A 1959 cigarette company trading card featuring Laika, the Sputnik dog.
Within a month of the launch of Sputnik, the first satellite, Soviets launched a second satellite, Sputnik 2. This satellite had a dog named Laika onboard to test the effects of space on a living organism. At the time, Soviets reported that they euthanized Laika after days in orbit before she ran out of oxygen. However, more recent reports revealed that the dog died within a few hours of the launch from overheating.
- What impact did the launch of Sputnik have in the United States, as reflected in the “Another Race We Can Lose” cartoon?
- How do you think Americans felt about a second Soviet satellite launch so quickly after Sputnik I and the inclusion of a dog based on the trading card featuring Laika?
Question 3
Source: A 1958 news clip of an American official discussing the Soviet space program.
This man alludes to the Soviet rejection of Open Skies in 1955 and their advancement in missile development. This clip was made months after the Sputnik satellite launches when Americans were reeling from this apparent Cold War setback.
- Using the account by the American official in the 1958 news clip, how did the early Soviet success impact the United States and push its space program?
Question 4
Sources:
A 1961 model of Explorer I, the first American satellite to orbit the earth.
Explorer I was launched on January 31, 1958, four months after the Soviet Union launched the Sputnik satellite.
An excerpt from an academic paper about the Cold War missile gap between the US and USSR, 2011.
This excerpt features part of an academic paper about the missile gap, or imbalance of missiles and missile technology, between the two superpowers, the US and USSR. The paper also addresses the perceived imbalance of Intercontinental Ballistic Missiles between the Soviets and Americans. This segment of the paper describes the espionage involved in the Space Race and how US satellites were used to take photographs of Soviet technology.
- How did Space Race espionage efforts benefit from satellite technology, like the Explorer I and the Corona program described in the paper about the missile gap between the US and USSR?
- What role did espionage, or spying, have in the Space Race?
Question 5
Source: A 1960 news clip of a US Air Force general discussing American missile technology and manned space flight.
In this brief television news clip, a US Air Force general makes a connection between America’s space program, the Space Race, and military technology and objectives. The speaker suggests that space and rocket technology could be used to transport both people and “things” into orbit.
- Given the reflection by the Air Force general in the 1960 news clip, what connection did the Space Race have to the nuclear arms race?
- What do you think the general meant when he said that rocket technology could be used to propel “things” into orbit?
Question 6
Sources:
A 1961 American political cartoon published after cosmonaut Yuri Gagarin became the first human in space.
On April 12, 1961, Soviet cosmonaut Yuri Gagarin became the first man in space when he completed a 108-minute orbital flight. The Soviets used this success to their advantage, and Gagarin became a worldwide celebrity. The cartoonist reflects the American public’s concern over yet another Soviet first: humans in space.
An excerpt from a May 1961 speech by President John F. Kennedy on urgent national needs, including the space program.
In this excerpt, President John F. Kennedy outlines why the space program is vital to national interests, what its benefits will be, how many national resources it deserves, and its expected results, including a bold prediction of moon exploration.
- Based on the 1961 political cartoon featuring Yuri Gagarin and the excerpt from President Kennedy’s speech, what role did the success of Yuri Gagarin’s flight have in influencing American policy?
- Based on the excerpt from President Kennedy’s speech about urgent national needs, what was the United States prepared to spend? Where did they intend to go? What reasons does Kennedy give for investment in the space program?
Question 7
Sources:
A 1962 news clip of the hydrogen-powered American Centaur missile exploding after take-off.
Following Yuri Gagarin’s successful orbit in 1961 and President John F. Kennedy’s ambitious plans for investment in space exploration, the American space program suffered a setback when the unmanned Centaur rocket exploded after takeoff on May 8, 1962. The Centaur was the rocket, or booster, that was designed to propel satellites and other spacecraft into orbit. The explosion was caused by a defect that resulted in the combustion of the sensitive hydrogen fuel system. As the voice-over suggests, even failures were learning opportunities.
An excerpt from footage of the Apollo 11 lunar landing, 1969.
After some setbacks and second place finishes to the Soviets, the United States successfully became the first nation to land a man on the moon. Astronauts Neil Armstrong and Buzz Aldrin stepped foot on the moon on July 20, 1969, and astronaut Michael Collins piloted the command module.
- Compare and contrast the 1962 news clip of the Centaur explosion with the 1969 footage of the Apollo 11 lunar landing. How did previous setbacks make the moon landing possible?
- Describe the activities and tasks of the astronauts once on the moon. What stands out to you about the moon footage?
Question 8
Sources:
A model of the Soviet N-1 rocket, designed for a moon landing mission, ca. 1970.
The Soviets intended to use this rocket and capsule to send humans to the moon. The program lacked funding and, after four failed attempts, the program was abandoned in 1974.
A 1984 United States Department of Defense chart of Soviet space program costs.
This chart of costs illustrates the increasing difficulty the Soviets had with keeping up in the Space Race. This spike coincided with increasing political and social upheaval within the Soviet Union, and the chart ends just five years before the end of the Soviet Union itself.
- Given the Soviet Union’s early successes in the Space Race, what do the model of the Soviet N-1 rocket and the chart of Soviet space program costs tell you about the costs of the Space Race for the Soviet Union?
- Based on your prior knowledge or outside research, what else was taking place politically, economically, and socially in the Soviet Union during the 1970s and 1980s?
Question 9
Source: A 1988 news clip that includes a description of the Strategic Defense Initiative.
In the midst of defense escalation during the early 1980s, the administration of President Ronald Reagan introduced SDI, the Strategic Defense Initiative. This news clip shows an animated demonstration of how it might work and an explanation of its importance to the negotiations between the US and USSR.
- How might the Strategic Defense Initiative described in the 1988 news clip demonstrate a shift from prior motivations behind the Cold War Space Race?
Question 10
Source: A 1998 diagram of the International Space Station and the countries involved.
Following the Cold War, several national space programs, including NASA and a Russian agency, joined efforts to have a permanently inhabited research facility in space. This image displays each country’s contribution to the International Space Station.
- How does the diagram of the International Space Station demonstrate a post-Cold War world?
- In what ways does the International Space Station represent a change in space research compared to the 1950s?
Sources cited
Resources cited in order of DPLA appearance:
WSB-TV (Television station: Atlanta, Ga.). "Senator Henry Cabot Lodge, Jr. in speech comments on Eisenhower's original 'Open Skies' proposal to U.N." 1962-11-13. Retrieved from the Digital Public Library of America, https://dlg.galileo.usg.edu/news/id:wsbn34616. In copyright.
Fitzpatrick, Daniel Robert, 1891-1969. "Another Race We Can Lose." [Political cartoon.] 1957-11-08. Retrieved from the Digital Public Library of America, http://cdm17228.contentdm.oclc.org/cdm/ref/collection/ec/id/7189.
"'Laika,' the Sputnik dog." [Cigarette trading card.] Retrieved from the Digital Public Library of America, https://digitalcollections.nypl.org/items/573c33e0-c570-012f-a87c-58d385a7bc34.
WSB-TV (Television station: Atlanta, Ga.). "Man on the U.S. and Soviet's space race." 1958. Retrieved from the Digital Public Library of America, https://dlg.galileo.usg.edu/news/id:wsbn34451. In copyright.
Jet Propulsion Laboratory, California Institute of Technology, U.S. Army Ballistic Missile Agency, Redstone Arsenal. "Satellite, Explorer I." https://collections.si.edu/search/detail/edanmdm:nasm_A19620034000. Usage restrictions apply.
"Penetrating the Iron Curtain: resolving the missile gap with technology." [2011]. Retrieved from the Digital Public Library of America, http://catalog.hathitrust.org/Record/011501625.
WSB-TV (Television station: Atlanta, Ga.). "Series of of WSB-TV newsfilm clips of an unidentified United States Air Force general discussing American missile technology and manned space flight, probably Washington, D.C., approximately 1960." 1960. Retrieved from the Digital Public Library of America, https://dlg.galileo.usg.edu/news/id:wsbn32614. In copyright.
Engelhardt, Tom (b. 1930). "Propaganda Orbit." [Political cartoon.] 1961. Retrieved from the Digital Public Library of America, http://cdm17228.contentdm.oclc.org/cdm/ref/collection/ec/id/22339.
President Kennedy. Office of the Personal Secretary. 1961-1963. "Press copy of Special Message by the President on Urgent National Needs, 25 May 1961." 1961-05-25. Retrieved from the Digital Public Library of America, http://catalog.archives.gov/id/193915. In public domain in the United States; may be in copyright outside of the United States.
“War and Peace in the Nuclear Age; At the Brink; Space Setback: New Missile Blows Up.” 1962-5-10. GBH Archives. Web. http://openvault.wgbh.org/catalog/V_AF6C210B45834022A3656345A049AAC5.
"F-0051A The Flight of Apollo 11." Retrieved from the Digital Public Library of America, https://www.youtube.com/watch?v=NmOWlAyOAUE.
David P. Gianakos. "Model, Rocket, Launch Vehicle, Soviet Lunar, N-1: 1/48." https://collections.si.edu/search/detail/edanmdm:nasm_A19970202000. Usage restrictions apply.
Department of Defense. American Forces Information Service. Defense Visual Information Center. 1994. "Soviet space program costs." Courtesy of Soviet Military Power, 1984. PHOTO No. 44, page 47. 1984-05-23. Retrieved from the Digital Public Library of America, http://catalog.archives.gov/id/6374835. In public domain in the United States; may be in copyright outside of the United States.
KXAS-TV (Television station: Fort Worth, Tex.). [News Clip: Summit]. 1988-05-31. Retrieved from the Digital Public Library of America, https://texashistory.unt.edu/ark:/67531/metadc983620/. In copyright.
Smithsonian National Air and Space Museum. "International space station components." [Poster.] https://airandspace.si.edu/multimedia-gallery/web11440-2010hjpg. In copyright by Smithsonian.
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oercommons
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2025-03-18T00:34:21.999085
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Lesson
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{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/115630/overview",
"title": "Space Race",
"author": "World History"
}
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https://oercommons.org/courseware/lesson/78517/overview
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Nursery and Gardening
Overview
This section is a textual vision resources for nursery and gardening introduction
Nursery : introduction objectives and scope
In this section we will know
1) What is a nursery
2) Objectives of developing a nursery
3) Types of nurseries
4) Scope of nursery
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oercommons
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2025-03-18T00:34:22.017375
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03/23/2021
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{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/78517/overview",
"title": "Nursery and Gardening",
"author": "Fahima Gul"
}
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https://oercommons.org/courseware/lesson/91829/overview
|
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climate change
or
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oercommons
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2025-03-18T00:34:22.039998
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04/15/2022
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{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/91829/overview",
"title": "climate change1",
"author": "Gamze KILIÇ"
}
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https://oercommons.org/courseware/lesson/77594/overview
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Jacques-Louis_David,_Le_Serment_des_Horaces
Portrait_of_Thomas_Paine
Ronin Helsing Presents: The Age of Enlightenment
Overview
By Ronin Helsing
Philosophy
Philosophy is the core of Enlightenment society. Old classical ideas of natural law, liberty and democratic republicianism were popular during this era. The following are three key figures:
Baron de Montesquieu: French Philosopher who argued for separation of powers and influenced the US Constitution with his work "The Spirit of Laws."
John Locke: "Life, Liberty and the Pursuit of Happiness" can be traced to John Locke's philosophy of Natural Law and social contract theory of government.
Thomas Paine: Author of "Common Sense," a pamphlet which was pivotal in starting the American Revolution.
Images:
- Der Weimarer Musenhof (1860), by Theobald Von Oer; Public Domain
Portrait of Charles Montesquieu, by Jacques-Antoine Dassier; Public Domain
Portrait of John Locke, by Godfree Knellor; Public Domain
Portrait of Thomas Paine, by Laurent Dabos; Public Domain
Politics and Government
The age of Enlightenment brought an end to feudalism and ushered in a new era of democracy inspired by the Greek classical era. This led to the rise of Democratic Republicanism.
Natural Law, which is the belief in objective ethics and equality of human rights, was a formative part of the making of these new governments. A discussion began to end the practice of overt slavery in many countries.
Art and Culture
As art is downstream from culture, the age of enlightenment also saw revolutions in the art world. Baroque and Roccoco styles of art, known for their detailed and lavish embellishments, became viewed as opulent and overindulgent. In music, intriquate fugues of the Baroque era were replaced by thematic stoic simplicity. A rise to an era of neo-classicism in art began, with many painters returning to styles and themes of the age of the Greeks and Romans. This can be seen in the architecture of American National monuments.
Image: "Oath of the Horatii" by Jacques-Louis David; Public Domain
Revolutions
The enlightenment ushered in many revolutions of nonviolent and bloody varieties such as:
- The Industrial Revolution: scientific advancements were increased which led way to new technologies which industrialized the workforce.
- The American Revolution: gave way to the first democratic republic since the classical era.
- The French Revolution: the proletarian rise against the bourgiousie was a proto-communist revolution of sorts.
- The Haitian Revolution: Slaves rose against their masters and murdered their entire families.
licensing
“The Age of Enlightenment” by Ronin Helsing is licensed under CC BY-ND 2.0.
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oercommons
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2025-03-18T00:34:22.063345
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02/25/2021
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{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/77594/overview",
"title": "Ronin Helsing Presents: The Age of Enlightenment",
"author": "Ronin Helsing"
}
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https://oercommons.org/courseware/lesson/82490/overview
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Kelime Ogretimi Ders Plani
10. Sınıf 1.Ünite Kelime Listesi
Overview
This is a lesson about teaching 1st unit vocabulary in 10th grade. It consists of a lesson plan and a list of 1st unit words.
Bu ders ,10.sınıf 1.ünite kelimelerinin öğretimi ile ilgilidir. Bir ders planı ve 1.ünite kelime listesinden oluşmaktadır.
10. Sınıf 1.Ünite Kelime Listesi Ders Planı
BÖLÜM 1
DERSİN ADI : İNGİLİZCE
BECERİ-KONU ALANI : 1. ÜNİTE KELİME ÖĞRETİMİ
SINIF: 10. SINIF
BÖLÜM 2
AMAÇLAR:
-1.ünite ( School Life ) kelimelerini öğrenir.
-Öğrendiği kelimeleri ünite ile ilgili yapılan etkinliklerde kullanır.
ÖĞRETİM STRATEJİ, YÖNTEM VE TEKNİKLERİ:
-Sunuş Stratejisi
-Soru Cevap Tekniği
-Sesli Okuma Tekniği
ÖĞRETİM İLKELERİ
-Hedefe Görelik İlkesi
-Hayatilik İlkesi
-Açıklık İlkesi
-Öğrenciye Görelik İlkesi
NOT: 1.ünite ( School Life) kelimeleri bir Word dosyasında hazırlanarak canlı derste öğrencilerle paylaşıldı. Kelimelerin anlamlarıyla birlikte telaffuzları üzerinde de çalışıldı. Kelime öğretimi, Educandy uygulamasıyla oyunlaştırılarak kalıcı hale getirildi.
10.Sınıf 1. Ünite Kelime Listesi
UNIT 1 : SCHOOL LIFE : OKUL YAŞAMI
SCHOOL SUBJECTS: OKUL DERSLERİ
- Turkish: Türkçe
- English: İngilizce
- Science and Technology: Fen ve Teknoloji
- Social Studies: Sosyal Bilgiler
- Maths: Matematik
- Religion and Morals: Din Kültürü ve Ahlak Bilgisi
- Physical Education (P.E) / Training: Beden Eğitimi
- Art: Resim
- Music: Müzik
- Drama: Tiyatro
- ICT (Information and Communication Technology) : Bilişim ve İletişim Teknolojileri
- History: Tarih
- Geography: Coğrafya
- Chess: Satranç
- Literature: Edebiyat
- Chemistry: Kimya
- Physics: Fizik
- Biology: Biyoloji
FREE TIME ACTIVITES: BOŞ ZAMAN ETKİNLİKLERİ
- Play football : Futbol oynamak
- Play basketball : Basketbol oynamak
- Play tennis: Tenis oynamak
- Play volleyball: Voleybol oynamak
- Play table tennis: Masa tenisi oynamak
- Play an instrument: Enstrüman çalmak
- Play computer games: Bilgisayar oyunları oynamak
- Play board games: Masaüstü oyunları oynamak
- Listen to music: Müzik dinlemek
- Swimming: Yüzme
- Drawing : Resim çizme
- Read a book : Kitap okumak
- Read a magazine : Dergi okumak
- Singing : Şarkı söyleme
- Watch tv : Televizyon izlemek
- Watch a movie : Film izlemek
- Shopping : Alışveriş yapmak
- Sailing : Yelkencilik
- Go to the cinema : Sinemaya gitme
- Go to the theater : Tiyatroya gitmek
- Ride a bike / Cycling : Bisiklet sürmek
- Ride a horse : Ata binmek
- Surfing: Sörf yapma
- Skateboarding: Kaykay
- Skating: Paten yapma
- Skiing: Kayak yapma
https://www.educandy.com/site/html5/bin/main.php?activity=wordsearch&quizid=301819
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oercommons
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2025-03-18T00:34:22.116380
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Homework/Assignment
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{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/82490/overview",
"title": "10. Sınıf 1.Ünite Kelime Listesi",
"author": "Languages"
}
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https://oercommons.org/courseware/lesson/93258/overview
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Beginning Journalism
Overview
This online educational resource is designed to provide students with an introduction to the field of journalism in a society that expects immediate, accurate and useful information. The goal of this resource is to prepare students to become practicing journalists and to increase media literacy even among those who do not intend to pursue journalism as a career.
Chapter 1: Newsworthiness and the Journalist's Job
"Internet Freedom Fellows Press Conference at UN" by US Mission Geneva is licensed under CC BY-ND 2.0.
Who decides what counts as "news?" The answer may surprise you. Because built into journalism is a series of assumptions, perspectives and practices that color what makes something newsworthy, and some stories you may think don't deserve to be covered are very important to others. Ultimately, it's the journalist's job to use their judgment, experience and knowledge to determine what they think will be of interest to their readers, and since audience can be measured immediately in the digital era, we can get a very good idea of what's important to people in real time.
In this chapter we'll explore the different elements that tend to be interesting to people and look at what being a journalist actually looks like in a newsroom.
Reading:
Chapter 2: Story Structure and Lead Writing
The lead, sometimes spelled lede, is the first sentence of a news story. One sentence sounds simple, but to write a good lead, a journalist has to capture all the most important information in that single sentence. Because in news writing, we never use suspense to draw out the excitement of the story. We always tell people, immediately, what happened.
The lead is the point of the common visualization of journalistic story structure known as the inverted pyramid. The inverted pyramid describes how a typical news story is organized: from the most important information to the least.
“Inverted pyramid in comprehensive form” by Christopher Schwartz is licensed under CC BY-SA 3.0
Reading:
Chapter 3: Journalistic Ethics
"Rupert Murdoch - World Economic Forum Annual Meeting 2009" by World Economic Forum is licensed under CCBY-NC-SA 2.0.
Where do you go to get a journalism license? Is there a badge I can wear that makes me a journalist? Do I become a journalist by graduating from journalism school?
One cool thing about journalism in the digital era is that literally anyone can do it. Social media and blogging platforms allow us to publish ourselves, and by doing so, we enjoy the same rights under the First Amendment that a reporter from the New York Times counts on.
So what distinguishes professional journalists, then? Ethics. A system of rules and principles used to guide the subjective decisions we're making as we go out into the world and try to report back what's happening. If anyone can be a reporter, we need to distinguish ourselves as pros through ethical practices that increase trust in us from our readers. A nonprofit organization called the Society of Professional Journalists publishes they system they recommend, and newsrooms all over the country follow it.
Reading:
Watch:
- "Murdoch's Scandal" by PBS Frontline - March 27, 2012
Chapter 4: Public Relations, Press Conferences and Press Releases
"President Trump & the First Lady's Trip to Europe" by The White House is marked with Public Domain Mark 1.0.
Sometimes we find the story, and sometimes the story comes to us. There is an entire profession dedicated to pitching, spinning, distracting and sometimes helping reporters publish stories. This week we'll talk about public relations and the methods used by PR pros to persuade reporters. Among them are press releases—written documents meant to attract or affect news coverage—and press conferences, the events used by companies, politicians and others to generate publicity.
A key thing to note this week is that the mission of the reporter does not always align with the mission of the people trying to get us to write about them. Skepticism is always warranted when powerful people and institutions are trying to generate news coverage.
Read:
- "Press Release Journalism" by Brian Montopoli, Columbia Journalism Review, Apr. 18, 2005
- "6 Ways Journalists Can Use Press Releases Effectively" by Mallary Jean Tenore, Poynter, July 25, 2012
Chapter 5: Interviewing
"A journalists interviewing voters at the Parliamentary elections - Kigali, 16 September 2013" by Paul Kagame is licensed under CC BY-NC-ND 2.0.
Journalists get information in a variety of ways, but the primary method is simply talking to people. Getting people to talk, and talk about what we want them to talk about, can be harder than it seems. And there are different types of journalistic interviews. Are we confronting a politician? That calls for a much different approach than discussing the intimate details of someone's life for a profile story.
Reading:
- "The Art of the Interview" by Ann Friedman, Columbia Journalism Review, May 30, 2013
Watch:
Case study: What about Baquet's interviewing approach got Jay-Z to open up?
Chapter 6: Feature Writing
So far we've looked at news structure, breaking down timely stories into the components of who, what, when, where and why. This is an important way to organize information when it's new and developing, but what about stories that don't have that same immediacy?
Feature writing is a broad category of journalistic writing that takes a more creative approach, using storytelling and narrative devices you may remember from your English classes to draw the reader in. Feature writers might use mystery, foreshadowing, scene recreation or flashbacks to transport readers into the story. The goal is to engage the reader with emotion and details instead of mere newness. This means there are fewer rules to feature writing, but that doesn't mean features are easy to do.
Reading:
- How To Write A Profile Feature Article by The New York Times Learning Network
- And the winner for the best Pulitzer lead is..." by Roy Peter Clark, Poynter, May 28, 2019
*Reference: For examples of excellent longform feature writing, the Pulitzer Prizes provides free access to the nominees and prizewinners in its Feature Writing category going back many decades.
Chapter 7: Anonymous Sourcing
"Prison Bars" by mikecogh is licensed under CC BY-SA 2.0.
Did you know that if you want to protect an anonymous source and keep a promise to keep their identity confidential, you might have to go to jail? Did you know many reporters, including some working for the most prestigious outlets in the country, have chosen prison over testifying about the identity of their sources?
Anonymous sourcing poses a challenging dilemma for reporters: on one hand, we want to tell readers exactly where we got our information to build trust, but on the other, some stories simply can't be told without confidentiality. Want to report on the CIA? Good luck getting a spy on the record to talk about what they do. They could go to jail and lose their job just for speaking to the press.
Now we'll dive into anonymous sourcing and try to determine when it's justifiable to withhold the identity of your source from readers.
Reading:
Watch:
- PBS Frontline's Documentary "News War" explores anonymous reporting and the law through the lens of the Valerie Plame affair.
- "News War: Part One," PBS Frontline
- "News War: Part Two," PBS Frontline
Chapter 8: Investigative Journalism
"Harvey Weinstein, Chairman, The Weinstein Company" by Thomas Hawk is licensed under CC BY-NC 2.0.
For decades, the Watergate story was still the crown jewel of American journalism. Reporting from Washington Post reporters, after all, helped bring down a corrupt president. A few years ago, another seminal story showed the power of investigative journalism. Two reporters from the New York Times, Megan Twohey and Jodi Kantor, and a reporter for the New Yorker, Ronan Farrow, wrote a series of stories exposing the immensely powerful Hollywood producer Harvey Weinstein as a sexual predator. The story kickstarted the #MeToo movement and led to a reckoning around the world about sexual harassment and abuse in the workplace.
Journalism did that. Journalists, based on dogged reporting from courageous reporters constantly being threatened with lawsuits (and followed by private detectives!) published a series of stories that changed the world. In this chapter we'll look at how that story was reported and published and examine how anonymous sourcing played a critical role in finally holding a very powerful man accountable for his monstrous behavior.
Reading:
"Sexual Misconduct Claims Trail A Hollywood Mogul", by Jodi Kantor and Megan Twohey, The New York Times. First link - Oct. 6, 2017
Watch:
Chapter 9: Public Records and Public Meetings
"Stuart Strachan, Senior Archivist, National Archives, examines files from the Prime Minister's Department (1980)" by Archives New Zealand is licensed under CC BY 2.0.
Documents! Precious documents!
Some of the most important, impactful reporting has been done through public records. The concept behind public records laws is simple: any governmental agency spends taxpayer money and, therefore, must open up its books to the public. This means that reporters (and anyone else!) can get their hands on a tremendous amount of newsworthy information just by asking governmental institutions to fork it over.
In this chapter we'll look at two key public records laws that allow California journalists to examine what politicians are doing and expose corruption. In most cases, all they have to do is ask. And sue. Lots of suing.
Public institutions (like college and university boards) are also required to meet in public, talk about business in public, and invite the public to attend!
If you've ever been to a city council meeting, you know that few members of the public actually take advantage of this right. Sucks for democracy, but a great opportunity for reporters. By simply showing up to meetings, listening, and talking to people, reporters get tons of newsworthy stories that would probably otherwise go unnoticed.
Reading:
- Is a city manager worth $800,000? by Jeff Gottlieb and Ruben Vives, LA Times (via Pulitzer Prizes - first story at top)
- California Public Records Act Primer by The First Amendment Coalition
- Brown Act Primer, by The First Amendment Coalition
Chapter 10: Headlines
"9/11 Headlines" by thisfeministrox is licensed under CC BY-NC 2.0.
Headlines are arguably the most important element in journalistic writing. The headline serves two primary functions in modern online journalism: it summarizes the story, and perhaps more importantly, it's a literal gateway to the story. If readers aren't interested in the headline, they won't click it. If they don't click it, they won't read the story. In this way, a bad headline is a death sentence for a great story!
But good headlines are tricky to write. They must be as concise as possible to fit into finite space, but they also must be intriguing enough to pique a readers' interest. And of course, because this is journalism, they must be accurate.
Reading:
- "How to write great headlines that keep readers engaged" by Colin Dwyer, National Public Radio, Oct. 25 2015
- "Making a splash: the best – and funniest – Guardian headlines over 200 year" by Jamie Fahey, The Guardian, May 13, 2021
Chapter 11: Opinion in Journalism
For most news outlets, a special section is devoted to opinion and it's usually labeled "Opinion." In that section, ideas and views about the news are debated by experts, pundits, and journalists. This can help readers shape their own perspective, but it can also give the impression that a news outlet is biased.
In this chapter we'll look at the role of opinion in journalism and debate whether true objectivity is possible.
Reading:
- "The Difference Between News and Opinion," The Wall Street Journal interactive feature
Watch:
In 2013, journalist Glenn Greenwald and Bill Keller, the former editor of the New York Times, debated the role that the opinion of the reporter should play in their reporting. Watch their perspectives. Who do you agree with?
Keller's take:
Glenn Greenwald's response:
Chapter 12: Media Law
"Edward Snowden" by JeepersMedia is licensed under CC BY 2.0.
What are we allowed to publish? What can the government legally keep us from publishing? Can we get in trouble for publishing certain things? Can we be sued for being mean?
Good news! Because of the First Amendment and court interpretations of it over the last two centuries, journalists in the U.S. enjoy extensive freedom. With limited exceptions that we'll talk about, we can publish whatever we want, even highly classified information stolen from the government. But once we publish, there are things we could have to worry about. Purposefully publishing something false (which no good reporter would do!) could lead to a costly defamation lawsuit, and we have to be careful reporting private information about people that has no real public benefit.
Prior Restraints
In 2010, a website called Wikileaks started publishing classified information leaked to it by an Army private named Bradley (now Chelsea) Manning. Manning was arrested, charged and convicted of violating the Espionage Act and sentenced to 35 years in prison. Had President Obama not commuted her sentence, she would still be in jail.
Manning's case represents a critical distinction to understand in the publication of classified information: in all but the most extreme cases, the press cannot be stopped from publishing stories on classified material and no reporter has ever been successfully prosecuted for doing so after the fact. But the leaker, the person who passes classified info to journalists, is very much in danger of prosecution.
The reason the press is free to publish most things is because the Supreme Court has put restrictions on the government's ability to obtain prior restaints--court orders preventing publication of material. Prior restraints are a form of governmental censorship, and the courts have found that most of the time they violate the First Amendment.
The most important Supreme Court decision on prior restraints came in the Pentagon Papers case, when the court ruled that the New York Times could not be legally barred from publishing a secret government study about the Vietnam War.
Reading:
- "The Race To Publish The Pentagon Papers" by Roy Harris, The Pulitzer Prizes
Listen:
The podcast "Reveal" from the Center for Investigative Reporting explored the Pentagon Papers case in depth. Listen to the episode here:
- "The Pentagon Papers" by Reveal, The Center for Investigative Reporting, May 21, 2016
Watch:
In 2010, a website called Wikileaks started publishing classified information leaked to it by an Army private named Bradley (now Chelsea) Manning. Manning was arrested, charged and convicted of violating the Espionage Act and sentenced to 35 years in prison. Had President Obama not commuted her sentence, she would still be in jail.
Manning's case represents a critical distinction to understand in the publication of classified information: in almost all cases, the press cannot be stopped from publishing stories on classified material and no reporter has ever been successfully prosecuted for doing so after the fact. But the leaker, the person who passes classified info to journalists, is very much in danger of prosecution.
- "Wikisecrets" by PBS Frontline, May 24, 2011
Defamation and Privacy Law
We've gone over the good news about the First Amendment: under most circumstances, the government can't stop us from saying or publishing what we want. However, there can be consequences to publishing after the fact. Defamation law, for example, allows for people to sue publishers who print false information that damages their reputation. And privacy law protects us from having private information published about ourselves without consent.
It's important for journalists to understand what kinds of reporting can potentially get us sued. But more good news: as long as we're following strong ethical practices, we likely don't have to worry about ending up in court.
Reading:
- "Four Elements of Libel Law" by the Student Press Law Center
- "Invasion of Privacy Law In Brief" by the Student Press Law Center
Case Study: Palin vs. New York Times
In February 2022, a high profile defamation case concluded involving a well known politician suing the biggest newspaper in the world. In Sarah Palin v. The New York Times, Palin alleged she was libeled by an opinion column published in the Times that suggested a connection between a political ad her campaign ran and a mass shooting. The suit is a useful case study in defamation law and how the "actual malice" standard is used to determine fault in a lawsuit filed by a public figure against a news operation.
Watch:
- The basics of the case are laid out simply here: PBS News Hour on Palin v. NYT
Reading:
- "Sarah Palin loses defamation case against 'The New York Timess'" by David Folkenflik, National Public Radio, Feb. 15, 2022
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oercommons
|
2025-03-18T00:34:22.160779
|
06/01/2022
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/93258/overview",
"title": "Beginning Journalism",
"author": "Nathan McIntire"
}
|
https://oercommons.org/courseware/lesson/89768/overview
|
John C. Calhoun - Speech on the Reception of Abolition Petitions, February, 1837
Overview
Calhoun, John C., “Speech on the Reception of Abolition Petitions, February, 1837.”
Calhoun, John C., “Speech on the Reception of Abolition Petitions, February, 1837.” Speeches of John C.Calhoun; Harper & Brothers, New York 1843, 222-226. American Libraries Collection. Accessed at https://archive.org/details/speechesofjohncc00incalh/page/222/mode/2up?q=Abolition+Petitions Oct. 20,
2021. Edit by Chris Gilliland. This work is in the Public Domain.
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oercommons
|
2025-03-18T00:34:22.182427
|
Christopher Gilliland
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/89768/overview",
"title": "John C. Calhoun - Speech on the Reception of Abolition Petitions, February, 1837",
"author": "Susan Jennings"
}
|
https://oercommons.org/courseware/lesson/88229/overview
|
Media literacy necessary to navigate world (Modified)
Overview
This resource is about how media literacy is important to navigating our world. I used this in my lesson to help my students be able to tell the difference between the pros and cons of this article and if this helps students learn abouye media literacy. I took out a some information from the original document because I deemed the information not useful.
Modified Version of an Article I used for a lesson for Media Literacy
It has been 20 years since I wrote an article for the Journal of the American Academy of Child and Adolescent Psychiatry titled, "The Impact of Media on Children and Adolescents: A Ten Year Review of the Research." The article focused primarily on television, movies, music and music videos, and video games with only two paragraphs devoted to computers and the internet. Broadband internet and smartphones did not exist. The research reviewed was primarily survey data about how many hours children used media and studies about the possible effect of violent media leading to violent behavior. What was clear was that all media has the capacity to teach and that media shapes attitudes and behaviors. The discussion warned that media use would increase due to rapid advances in technology and "new forms yet to be developed."
Recently, I began to think about the cohort of youngsters who have grown up consuming large quantities of media, especially "the new forms yet to be developed," now known as social media. A child who was in the first grade when the article was written is now age 26. His whole life has been shaped by his experience with media, from his preteen years through his teenage years and now his early adult life. He has likely played hours upon hours of video games, learned about sex through pornography, and maybe even sent a picture on his cellphone of his genitals to someone he was intimately involved with. And if he felt isolated and angry with no one to send a picture to, he could find a group online that would welcome him in, identify with his rage and teach him some new ways to vent. None of this was possible for prior generations.
Years have passed, and the debate about the public interest continues, made more complicated by the sophisticated technology that has rapidly developed and been disseminated to practically every man, woman and child on the planet. The American Academy of Pediatrics now issues warnings about toddlers using cellphones. Facebook, Twitter, YouTube and Instagram have taken over and are raising our children. It should be no surprise that folks who stormed the Capitol were doing so in the name of a reality television star whose misinformation posts on Twitter they had come to believe.
What was proposed years ago is needed now more than ever: to define public interest and teach media literacy. The internet is the public airways of the 21st Century and must be treated as such by the FCC and held accountable to operate in the public interest, with public interest clearly defined. Secondly, media literacy must be a core component of public school education. This must begin as soon as possible in order to build an electorate who understands how media work. A media literate electorate would question sources of information, would look for signs of being manipulated and would read and listen to a variety of sites and authors before forming an opinion. A media literate electorate would also have the ability to assess new knowledge and apply it to new situations.
We are a nation and a world at a perilous time in history where technology has advanced rapidly and gotten ahead of our ability to think about the impact on children. Our way through this is not more knowledge or more technology. It is a recognition that we are all in this together and must be bound by what is in the public interest and consider what children are learning from media. We cannot abandon another generation to the wasteland.
Dr. V. Susan Villani (vvillani@sheppardpratt.org) is a child and adolescent psychiatrist at Sheppard Pratt and a Fellow of the American Academy of Child and Adolescent Psychiatry.
|
oercommons
|
2025-03-18T00:34:22.195362
|
11/22/2021
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/88229/overview",
"title": "Media literacy necessary to navigate world (Modified)",
"author": "Regan Keen"
}
|
https://oercommons.org/courseware/lesson/108686/overview
|
c27LtD_readMe
27 colors
Overview
Useful chart, and application of trinary 26 + 1 (zero, neutral)
Image Optimization
Additional Resources: (video)
https://www.youtube.com/watch?v=Ynnqao7qQ6Q
https://www.youtube.com/watch?v=ioFy86ty0RI
https://www.youtube.com/watch?v=MlrSVtK0NG8
Additional Resources: (code)
https://oercommons.org/courseware/lesson/108522/overview
https://oercommons.org/courseware/lesson/108604/overview
https://oercommons.org/courseware/lesson/108677/overview
|
oercommons
|
2025-03-18T00:34:22.214461
|
09/19/2023
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/108686/overview",
"title": "27 colors",
"author": "R M"
}
|
https://oercommons.org/courseware/lesson/104692/overview
|
IHE Accessibility in OER Implementation Guide
Overview
Landscape Analysis and Implementation Goal, Team 2 for Horry Georgetown Technical College
May 11 - Section One: Landscape Analysis for Accessibility in OER in Local Context (Work on during May 11th implementation)
In this section, you and your team will engage in a Landscape Analysis to uncover key structures and supports that can guide your work to support Accessibility in OER. We exnourage to explore some of the questions from each category. You may or may not answer all of these questions, but this is an offering. We ask that you complete Parts One, Two and Six.
Part One: Initial Thoughts
What is your team's initial goal for this series?
To learn more about the relationship between OER and accessibility and ways to make courses more accessible.
Part Two: Introductory probing questions:
What does accessibility look like in our organization? How do we measure accessibility? This is a question we could not answer easily. It led us to asking many more questions such as "How do we define Accessibility here at HGTC? Who is responsible for ensuring that courses are accessible for students? Are there minimum requirements that should be expected and who sets those expectations?
What does OER look like in our organization? How do we measure access to OER? HGTC places an emphasis on affordable learning. There is a growing movement at our institution to offer an increasing number of courses where students are not required to purchase a textbook. OER materials are ideal as they are adaptable and can be made more accessibile.
Part Three: Clarifying questions for accessibility:
What is the organizational structure that supports accessibility?
Who generates most of the accessibility structures/conversation in our organization?
Where do most educators get support with accessibility?
Probably from the Academic Support Team .
What content areas might have the largest gaps in access to accessibility?
Part Four: Clarifying questions for OER:
What is our organizational structure that supports curricular resources?
What is our organizational structure that supports OER? Admin very supportive, the library, OEN Membership, partnership with the library and academic services.
Who generates most of the curricular resources in our organization?
Where do most educators get support with curricular resources?
What content areas might have the largest gaps in access to curricular resources/OER?
Part Five: Clarifying questions for Faculty learning and engagement:
What Professional Learning (PL) structures have the best participation rates for our educators?
What PL structures have the best "production" rates for our educators?
What incentive do we have to offer people for participating in learning and engagement?
Who are the educators that would be most creative with accessibility and OER?
Who are the educators that would benefit the most from accessibility and OER?
Part Six: Final Probing questions:
What is our current goal for Accessibility in OER and why is that our goal? We need to raise more awareness around accessibility at HGTC
Who have we not yet included while thinking about this work? Students with special needs
What barriers remain when considering this work? Faculty overworked or overwhelmed, lack of knowledge or awareness
What would genuine change look like for our organization for this work? More communication with student development, more equity and inclusion.
Section Two: Team Focus (Finish before May 25th to share during Implementation Session Two)
Identifying and Describing a Problem of Practice
The following questions should help your team ensure that you are focusing your collaboration.
What is your Team’s specific goal for this series? You may consider using AEM Quality Indicators for Creating Accessible Materials to help add to or narrow your work.To create a checklist that instructors can use while designing courses that is a quick guide to accessibility and includes links to resources.
What other partners might support this work? The other team from HGTC is developing a presentation to use with faculty on professional development days. Academic Services and the Library often partner up to promote OER.
What is your desired timeframe for this work? 2-3 weeks to put the checklist together.
How will you include diverse voices and experiences in this work? Ask departments about experiences, consider students' needs
Please create a Focus Question that explains your goal and provides specific topics that you would like feedback on. This is what you will share in your breakout groups for feedback.
(Save for during May 25th's session.) What feedback did you receive from another team during the May 25th Implementation Session?
The other team thought our checklist would be handy and complement the presentation they are working on.
Section Three: Team Work Time and Next Steps (Complete by the end of Implementation Session Three)
Sharing and Next Steps
What was your redefined goal for this series? To provide a checklist for faculty to use when developing OER courses and check for accessibility. This will accompany our other team's PD session they are developing about accessibility.
What does your team want to celebrate? We learned much more about UDL and a greater awareness of accessibility issues and how to resolve them.
What did your team accomplish? If you have links to resources, please include them here.
What are your team’s next steps? The next steps will be to implement the PD sessions that have been planned about accessibility and make others aware of the checklist we developed.
|
oercommons
|
2025-03-18T00:34:22.241956
|
06/05/2023
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/104692/overview",
"title": "IHE Accessibility in OER Implementation Guide",
"author": "Lisa Moniz"
}
|
https://oercommons.org/courseware/lesson/93636/overview
|
POL 13: Introduction to American Foreign Policy
Overview
The goal of this course is to provide students with comprehensive and critical coverage of U.S. foreign policy since(and before) World War II. Through a coherent chronological narrative, the course traces the evolution of U.S. foreign policy from its assumption of world leadership during and after World War II to its present concerns with sprouting democracies, a militarized policy, and global economic and political interdependence.
Political Science 12 Syllabus
The goal of this course is to provide students with comprehensive and critical coverage of U.S. foreign policy since(and before) World War II. Through a coherent chronological narrative, the course traces the evolution of U.S. foreign policy from its assumption of world leadership during and after World War II to its present concerns with sprouting democracies, a militarized policy, and global economic and political interdependence. The questions framing this class are the following:
- What caused past U.S. involvement in foreign wars and interventions?
- Were the results of U.S. policies good or bad?
- Were the beliefs that guided U.S. policy true or false?
General theories that bear on the causes and consequences of U.S. policy are applied to explain and evaluate past and present policies.
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oercommons
|
2025-03-18T00:34:22.262437
|
06/10/2022
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/93636/overview",
"title": "POL 13: Introduction to American Foreign Policy",
"author": "Christine Jun"
}
|
https://oercommons.org/courseware/lesson/71706/overview
|
A wonderful place to live
Overview
Don`t forget to write in your agenda the next time to think traveling abroad!
Live in a community.
Have you ever thought to live in a community?
A community is a place where people work, study, and live.
Everywhere you go in your community is part of your life of style of live; factories, hospitals, schools, buildings, parks,
but the most important is its people.
Then, remember everywhere you go is your community and you have to share with everybody in your daily routine.
Now, welcome to this magical place called Panamá, where its people is friendly and kindly, you may visit several cultural places, museums, ecological sites, and its wonderful provinces.
Panamá a little bit piece of heaven in the Earth.
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oercommons
|
2025-03-18T00:34:22.279499
|
BOLIVAR CEVALLOS
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/71706/overview",
"title": "A wonderful place to live",
"author": "Lecture Notes"
}
|
https://oercommons.org/courseware/lesson/85990/overview
|
Diagram of Transitional Epithelium
Overview
A diagram of cells changing shape from columnar to stratified, as they roughly may do as a transitional epithelium changes shape, as well as a diagrammatic explanation of why they must change shape to maintain a barrier.
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oercommons
|
2025-03-18T00:34:22.295695
|
09/20/2021
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/85990/overview",
"title": "Diagram of Transitional Epithelium",
"author": "Waymire Andrew"
}
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https://oercommons.org/courseware/lesson/102637/overview
|
Charles-Dickens-A-Christmas-Carol-An-Open-Reader
Charles-Dickens-A-Christmas-Carol-An-Open-Reader
Charles Dickens' A Christmas Carol: An Open Reader
Overview
This adaptation of Charles Dickens' A Christmas Carol is written as a graded reader for ESL/EFL/ELT purposes. The text is estimated to be at the INTERMEDIATE level on the Extensive Reading Foundation Grading Scale, or A2 on the CEFR scale.
(PDF, epub, mobi)
This adaptation of Charles Dickens' A Christmas Carol is written as a graded reader for ESL/EFL/ELT purposes. The text is estimated to be at the INTERMEDIATE level on the Extensive Reading Foundation Grading Scale, or A2 on the CEFR scale.
(PDF, epub, mobi)
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oercommons
|
2025-03-18T00:34:22.369972
|
Reading Literature
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/102637/overview",
"title": "Charles Dickens' A Christmas Carol: An Open Reader",
"author": "Reading Foundation Skills"
}
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https://oercommons.org/courseware/lesson/94341/overview
|
MyOpenMath Workshop
Overview
Hello and welcome to the MyOpenMath Help Workshop. Register for an account using the typed description or view the video on the playlist titled “How to Register as an Instructor”. The MyOpenMath Help Video playlist provides a multitude of videos teaching users how to do everything they need to use MyOpenMath successfully in the classroom. It is more than a workshop, it is a tool box for success.
Creating a MyOpenMath Instructor Account
Creating and using an account for MyOpenMath is free, but each instructor must verify their employment at a designated institution, college, public K-12 or private K-12.
To create your instructor account, begin by visiting https://www.myopenmath.com/newinstructor.php and then following these three easy steps:
Step 1: School Affiliation
In this step, you will state the type of institution for which you work, where the school is located, including country and state, the zip code, and the name of your institution.
Step 2: Verification
This step requires you to provide some type of verification of your employment at the institution selected from Step 1. There are three different options for completing this step.
Website: Provide a school website that lists you as an instructor, a school directory which includes your name, your class schedule, or a department or faculty website. Just copy and past the URL into the space provided when the website option is selected.
Send an Email: You may choose to have a supervisor, colleague, or HR send an email verifying your employment status. If you choose this option, you can have this individual send an email to support@myopenmath.com. The individual sending the email must be listed on the school website.
Upload a School ID: Upload a picture or image of a school ID indicating you are a teacher.
Step 3: Account Details
Lastly, you will complete details for your account, including first and last name, email, username and password. You will also need to read and agree to the Terms of Use.
Once you request your account, someone will review your request. This is done manually on an individual bases and can take up to a day for access.
MyOpenMath Help Video Playlist
A YouTube playlist has been created to help instructors navigate MyOpenMath. A multitude of videos have been created to help walk new users through everything they need to use MyOpenMath in their courses. Access the playlist at:
https://youtube.com/playlist?list=PL4DaWQ8GB98Q0VLyE9QCmrb697U8UUc4T
Can’t find what you need? Email chambersjh@roanestate.edu to request additional video help.
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oercommons
|
2025-03-18T00:34:22.389224
|
Jessica Chambers
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/94341/overview",
"title": "MyOpenMath Workshop",
"author": "Ashley Morgan"
}
|
https://oercommons.org/courseware/lesson/84094/overview
|
In Class Activity or Online Discussion: Creation and Cosmos Literary Quick Take
Overview
The literary quick takes are weekly discussions and in-class activities that I use to frame the text for the students. This is mostly formative and graded based on engagement.
Literary Quick Takes
I use this for group discussion in both online and in-class formats. It is intended to allow students to explore the meaning of the text in relation to themselves and to engage in meaningful discussion with peers.
In the creation stories for this Chapter, there are some interesting conceptions of early humanity and its demise:
In Works and Days we are presented with this allegory:
Thus, said the hawk to the nightingale with speckled neck, while he carried her high up among the clouds, gripped fast in his talons, [205] and she, pierced by his crooked talons, cried pitifully. To her he spoke disdainfully:
“Miserable thing, why do you cry out? One far stronger than you now holds you fast,
and you must go wherever I take you, songstress as you are.
And if I please, I will make my meal of you, or let you go.
[210] He is a fool who tries to withstand the stronger,
for he does not get the mastery and suffers pain besides his shame.”
We also hear from the Popol Vuh that:
To supply the deficiency the divine beings resolved to create mannikins carved out of wood. But these soon incurred the displeasure of the gods, who, irritated by their lack of reverence, resolved to destroy them…
[and that]
… They climbed to the roofs of the houses, but the houses crumbled under their feet; they tried to mount to the tops of the trees, but the trees hurled them from them; they sought refuge in the caverns, but the caverns closed before them. Thus was accomplished the ruin of this race, destined to be overthrown. And it is said that their posterity is the little monkeys who live in the woods.
So, far, however, I have not added anything new to the discussion, because you have already read these passages. In both texts, humanity was destroyed for its lack of reverence to the gods, and in both stories, there is an underlying allegory of one’s submission to fate. This source will provide us with a different, perhaps less pessimistic perspective:
I mentioned the Veil of the Maya in the analysis for this week. How would you compare the concept of Maya to our texts from this week and what it means about coping in these cultures?
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oercommons
|
2025-03-18T00:34:22.404058
|
07/22/2021
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/84094/overview",
"title": "In Class Activity or Online Discussion: Creation and Cosmos Literary Quick Take",
"author": "Robert Ladd"
}
|
https://oercommons.org/courseware/lesson/93272/overview
|
Open Education
Overview
Open Education
Additional resources
More details on open education, its benefits for academia and other stakeholders can be provided if required.
Open Education is an emerging field that has opened new doors for the learners over the globe. Now people around globe can learn without boundaries of time and cost. In such a concept, resources are open, accessible, and shareable through public domain.Open education resources can improve the quality of education at both ends i.e. the teaching and learning end.Among various benefits of open education; collaborations , access and diversity in the contents are the top ones.Technology is an essential element for open education because it a source of providing access to various resources shared for public.
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oercommons
|
2025-03-18T00:34:22.422404
|
06/02/2022
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/93272/overview",
"title": "Open Education",
"author": "Aisha Ismail"
}
|
https://oercommons.org/courseware/lesson/108773/overview
|
Introduction to Cinema: Study Abroad
Overview
This text was enthusiastically adapted from Russell Sharman's incredible Moving Pictures, linked here, and was adapted specifically to focus on cinema regarding Tokyo for the purposes of Study Abroad.
Welcome to Tokyo in Film!
What is Cinema?
Is it the same as a movie or a film?
Does it include digital video, broadcast content, and streaming media?
Is it a highbrow term reserved only for European and art house feature films?
Or is it a catch-all for any time a series of still images run together to produce the illusion of movement, whether in a multi-plex theater or the 5-inch screen of a smartphone?
Technically, the word itself derives from the ancient Greek kinema, meaning movement. Historically, it’s a shortened version of the French cinematographe, an invention of two brothers, Auguste, and Louis Lumiere, that combined kinema with another Greek root, graphien, meaning to write or record.
The “recording of movement” seems as good a place as any to begin an exploration of the moving image. And cinema seems broad (or vague) enough to capture the essence of the form, whether we use it specifically in reference to that art house film or to refer to the more commonplace production and consumption of movies, TV, streaming series, videos, interactive gaming, VR, AR or whatever new technology mediates our experience of the moving image. Because ultimately, that’s what all of the above have in common: the moving image. Cinema, in that sense, stands at the intersection of art and technology like nothing else. As an art form, it would not exist without the technology required to capture the moving image. But the mere ability to record a moving image would be meaningless without the art required to capture our imagination.
But cinema is much more than the intersection of art and technology. It is also, and maybe more importantly, a powerful medium of communication. Like language itself, cinema is a surrounding and enveloping substance that carries with it what it means to be human in a specific time and place. That is to say, it mediates our experience of the world, helps us make sense of things, and, in doing so, often helps shape the world itself. It’s why we often find ourselves confronted by some extraordinary event and find the only way to describe it is: “It was like a movie.”
In fact, for more than a century, filmmakers and audiences have collaborated on a massive, ongoing, largely unconscious social experiment: the development of a cinematic language, the fundamental and increasingly complex rules for how cinema communicates meaning. There is a syntax, a grammar, to cinema that has developed over time. And these rules, as with any language, are iterative; that is, they form and evolve through repetition, both within and between each generation. As children, we are socialized into ways of seeing through children’s programming, cartoons, and YouTube videos. As adults, we become more sophisticated in our understanding of the rules and able to innovate, re-combine, and become creative with the language. And every generation or so, we are confronted with great leaps forward in technology that re-orient and often advance our understanding of how language works.
And therein lies the critical difference between cinematic language and every other means of communication. The innovations and complexity of modern written languages have taken more than 5,000 years to develop. Multiply that by at least 10 for spoken language.
Cinematic language has taken just a little more than 100 years to come into its own.
In January 1896, those two brothers, Auguste, and Louis Lumiere, set up their cinematographe, a combination motion picture camera and projector, at a café in Lyon, France, and presented their short film, L’arrivée d’un train en gare de La Ciotat (Arrival of a Train at La Ciotat Station) to a paying audience. It was a simple, aptly titled film of a train pulling into a station. The static camera positioned near the tracks captured a few would-be passengers milling about as the train arrived, growing larger and larger in the frame until it steamed past and slowed to a stop. There was no editing, just one continuous shot. A mere 50 seconds long…
And it blew the minds of everyone who saw it.
Accounts vary as to the specifics of the audience's reaction. Some claim the moving image of a train hurtling toward the screen struck fear among those in attendance, driving them from their seats in a panic. Others underplay the reaction, noting only that no one had seen anything like it. Which, of course, wasn’t entirely true either. It wasn’t the first motion picture. The Lumiere brothers had projected a series of 10 short films in Paris the year before. An American inventor, Woodville Latham, had developed his own projection system that same year. And Thomas Edison had invented a similar apparatus before that.
But one thing is certain: that early film, as simple as it was, changed how we see the world and ourselves. From the early actualite documentary short films of the Lumieres to the wild, theatrical flights of fancy of Georges Melies, to the epic narrative films of Lois Weber and D. W. Griffith, the new medium slowly but surely developed its own unique cinematic language. Primitive at first, limited in its visual vocabulary, but with unlimited potential. And as filmmakers learned how to use that language to re-create the world around them through moving pictures, we learned right along with them. Soon we were no longer awed (much less terrified) by a two-dimensional image of a train pulling into a station, but we were no less enchanted by the possibilities of the medium with the addition of narrative structure, editing, production design, and (eventually) sound and color cinematography.
Since that January day in Lyon, we have all been active participants in this ongoing development of a cinematic language. The novelty short films of those early pioneers gave way to a global entertainment industry centered on Hollywood and its factory-like production of discrete, 90-minute narrative feature films. The invention of broadcast technology in the first half of the 20th century gave way to the rise of television programming and serialized story-telling. And as the internet revolution at the end of the 20th century gave way to the streaming content of the 21st, from binge-worthy series lasting years on end to one-minute videos on social media platforms like Snapchat and TikTok. Each evolution of the form borrowed from and built on what came before, both in terms of how filmmakers tell their stories and how we experience them. And in as much as we may be mystified and even amused by the audience's reaction to that simple depiction of a train pulling into a station back in 1896, imagine how that same audience would respond to the last Avengers film projected in IMAX 3D.
We’ve certainly come a long, long way.
This book is an exploration of the evolution of cinema: the art and technology of moving pictures. But it is also an introduction to the fundamentals of the form that have remained relatively constant for more than 100 years. Just as the text you are reading right now defies easy categorization – is it a book, an online resource, an open source text – modern cinema exists across multiple platforms – is it a movie, a video, theatrical, or streaming – but the fundamentals of communication, the syntax, grammar, and rules of language, written or cinematic, remain relatively constant.
We will begin with an overview of how moving pictures work, literally and figuratively, from the neurological phenomena behind the illusion of movement to the invisible techniques and generally agreed-upon conventions that form the basis of cinematic language.
Then, we’ll take each aspect of how cinema is created in turn: production design, narrative structure, cinematography, editing, sound, and performance. Whether it’s released in a theater as a 2-hour spectacle or streaming online in 5-minute increments, every iteration of cinema includes these elements, and they are each critical in our understanding of film form, how movies do what they do to us, and why we let them.
The second section takes all of this accumulated knowledge of how cinema communicates and applies it to what, exactly, cinema is communicating. That is, we’ll take a long, hard look at the content of cinema, how that has changed over time, and how, for better or worse, it often hasn’t. This section will take seriously the idea that cinema both influences and is influenced by the society in which it is produced. And given the porous borders of the information age, that “society” is increasingly global. Cinema then, not unlike literature, can be viewed and analyzed as a kind of cultural document, a neutral reflection of society in a moment of time, or it can be viewed as a powerful tool for social change (or for the resistance of change as the case may be).
This emphasis on content inevitably leads to an exploration of power and representation. Who is on screen? Who is behind the camera? If cinema is as powerful a medium as I contend, it stands to reason that it matters deeply who controls the means of communication.
There is an ancient story about a king who was so smitten by a particular bird's song that he ordered his wisest and most accomplished scientists to identify its source. How could it sing so beautifully? What apparatus lay behind such a sweet sound? So they did the only thing they could think to do: they killed the bird and dissected it to find the source of its song. Of course, by killing the bird, they killed its song.
The analysis of an art form, even one as dominated by technology as cinema, always runs the risk of killing the source of its beauty. By taking it apart, piece by piece, there’s a chance we’ll lose sight of the whole, that ineffable quality that makes art so much more than the sum of its parts. Throughout this text, my hope is that by gaining a deeper understanding of how cinema works, in both form and content, you’ll appreciate its beauty even more.
In other words, I don’t want to kill the bird.
As much as cinema is an ongoing, collaborative social experiment, one in which we are all participants, it also carries with it a certain magic. And like any good magic show, we all know it’s an illusion. We all know that even the world’s greatest magician can’t really make an object float or see a person in half (without serious legal implications). It’s all a trick. A sleight of hand that maintains the illusion. But we’ve all agreed to allow ourselves to be fooled. In fact, we’ve often paid good money for the privilege. Cinema is no different. A century of tricks used to fool an audience that’s been in on it from the very beginning. We laugh, cry, or scream at the screen, openly and unapologetically manipulated by the medium. And that’s how we like it.
This text is dedicated to revealing the tricks without ruining the illusion. To look behind the curtain to see that the wizard is one of us. That in fact, we are the wizard (great movie, by the way). Hopefully, by doing so, we will only deepen our appreciation of cinema in all its forms and enjoy the artistry of a well-crafted illusion that much more.
Video Attributions:
‘L’arrivée d’un train en gare de La Ciotat (Arrival of a Train)’ by Lumière Brothers. by EcoworldReactor. Standard Vimeo License.
Tokyo in Film
Did you know Tokyo isn’t a city at all? – it’s a metropolis comprising 26 different cities, a handful of towns and villages, and 23 central wards. That is not just a remarkable fact; it’s vital to understanding Tokyo. With around 14 million people living over 2,191 sq km – Tokyo has no single mood. Each city has its own disposition, which we will discover when we go from Shinjuku's grunginess and Shibuya's effortless chik to the old-fashioned charm of Ikebukuro (hopefully, it won't be raining this time).
Where else but Tokyo can we order a coffee from a robot or have the checkout machine recognize our items by shape to calculate the bill?
For this reason, the films we analyze will involve Japan and specifically feature Tokyo, and through our exploratory assignments, we will attempt to recreate those scenes. For this class, the films (and anime) we will analyze are:
Film List:
- Adrift in Tokyo, Satoshi Miki
- Akira, Katsuhiro Ôtomo
- Aggretsuko, Rareko
- Fast and Furious: Tokyo Drift, Justin Lin
- First Love, Takashi Miike
- Godzilla Minus One (2023), Takashi Yamazaki
- Initial D, Andrew Lau, Alan Mak, Ralph Rieckermann
- Jujutsu Kaisen (Shibuya Incident), Sunghoo Park
- Kill Bill Vol. 1, Quentin Tarantino
- Like Someone in Love, Abbas Kiarostami and Banafsheh Modaressi
- Midnight Diner: Tokyo Stories, Kaoru Kobayashi
- Samurai Champloo, Shinichiro Watanabe
- Shoplifters, Hirokazu Koreeda
- Spirited Away, Hayao Miyazaki
- The Seven Samurai, Akira Kurosawa
- Tokyo Ghoul, Shûhei Morita
- Your Name, Makoto Shinkai
Honors Projects
- Honors Project: A comparative analysis of Ikiru, Akira Kurosawa, and the film Living a 2022 remake of Kurosawa's iconic film, by Oliver Hermanus - comparative analysis: You will explore themes of life, death, and the search for meaning within the context of two different cultural and temporal settings.
- Honors Project: Environmentalism in Miyazaki's work: Castle in the Sky and Nausicaä of the Valley of the Wind, Hayao Miyazaki - analysis assignment: Your analysis will delve into how these films depict human interaction with the environment and the implications of these interactions on both society and nature.
Week One, Module One - How to Watch a Movie
Step One: Evolve an optic nerve that “refreshes” at a rate of about 13 to 30 hertz in a normal active state.[1] That’s 13 to 30 cycles per second. Fortunately, that bit has already been taken care of over the past several million years. You have one of them in your head right now.
Step Two: Project a series of still images captured in sequence at a rate at least twice that of your optic nerve’s ability to respond. Let’s say 24 images, or frames, per second.
Step Three: Don’t talk during the movie. That’s super annoying.
Okay, that last part is optional (though it is super annoying), but here’s the point: Cinema is built on a lie. It is not, in fact, a “motion” picture. It is, at a minimum, 24 still images flying past your retinas every second. Your brain interprets those dozens of photographs per second as movement, but it’s actually just the illusion of movement, a trick of the mind known as beta movement: the neurological phenomenon that interprets two stimuli shown in quick succession as the movement of a single object.
Because all of this happens so fast, faster than our optic nerves and synaptic responses can perceive, the mechanics are invisible. There may be 24 individual photographs flashing before our eyes every second, but all we see is one continuous moving picture. It’s a trick. An illusion.
The same applies to cinematic language. The way cinema communicates is the product of many different tools and techniques, from production design to narrative structure to lighting, camera movement, sound design, performance and editing. But all of these are employed to manipulate the viewer without us ever noticing. In fact, that’s kind of the point. The tools and techniques – the mechanics of the form – are invisible. There may be a thousand different elements flashing before our eyes – a subtle dolly-in here, a rack focus there, a bit of color in the set design that echoes in the wardrobe of the protagonist, a music cue that signals the emotional state of a character, a cut on an action that matches an identical action in the next scene, and on and on and on – but all we see is one continuous moving picture. A trick. An illusion.
In this chapter, we’ll explore how cinematic language works, a bit like breaking down the grammar and rules of spoken language, and then we’ll take a look at how to watch cinema with these “rules” in mind. We may not be able to speed up the refresh rate of our optic nerve to catch each of those still images, but we can train our interpretive skills to see how filmmakers use the various tools and techniques at their disposal.
CINEMATIC LANGUAGE
Like any language, we can break cinematic language down to its most fundamental elements. Before grammar and syntax can shape meaning by arranging words or phrases in a particular order, the words themselves must be built up from letters, characters, or symbols. The basic building blocks. In cinema, those basic building blocks are shots. A shot is one continuous capture of a span of action by a motion picture camera. It could last minutes (or even hours) or could last less than a second. Basically, a shot is everything that happens within the frame of the camera – that is, the visible border of the captured image – from the moment the director calls “Action!” to the moment she calls “Cut!”
These discrete shots rarely mean much in isolation. They are full of potential and may be quite interesting to look at on their own, but cinema is built up from the juxtaposition of these shots, dozens or hundreds of them, arranged in a particular order – a cinematic syntax – that renders a story with a collectively discernible meaning. We have a word for that, too: Editing. Editing arranges shots into patterns that make up scenes, sequences, and acts to tell a story, just like other forms of language communicate through words, sentences, and paragraphs.
We have developed a cinematic language from these basic building blocks, a set of rules and conventions by which cinema communicates meaning to the viewer. And by “we,” I mean all of us, filmmakers and audiences alike, from the earliest motion picture to the latest VR experience. Cinematic language – just like any other language – is an organic, constantly evolving, shared form of communication. It is an iterative process that is refined each time a filmmaker builds a story through a discrete number of shots and each time an audience responds to that iteration, accepting or rejecting but always engaging in the process. Together, we have developed a visual lexicon. A lexicon describes the shared set of meaningful units in any language. Think of it as the list of all available words and parts of words in a language we carry around in our heads. A visual lexicon is likewise the shared set of meaningful units in our collective cinematic language: images, angles, transitions, and camera moves that we all understand to mean something when employed in a motion picture.
But here’s the trick: We’re not supposed to notice any of it. The visual lexicon that underpins our cinematic language is invisible, or at least, it is meant to recede into the background of our comprehension. Cinema can’t communicate without it, but if we pay too much attention to it, we’ll miss what it all means. A nifty little paradox. But not so strange or unfamiliar when you think about it. It’s precisely the same with any other language. As you read these characters, words, sentences, and paragraphs, you are not stopping to parse each unit of meaning, analyze the syntax, or double-check the sentence structure. All those rules fade to the background of your own fluency, and the meaning communicated becomes clear (or at least, I sure hope it does). And that goes double for spoken language. We speak and comprehend fluently in grammar and syntax, never pausing over the rules that have become second nature, invisible, and unnoticed.
So, what are some of those meaningful units of our cinematic language? Perhaps not surprisingly, a lot of them are based on how we experience the world in our everyday lives. Camera placement, for example, can subtly orient our perspective on a character or situation. Place the camera mere inches from a character’s face – known as a close-up –and we’ll feel more intimately connected to their experience than if the camera were further away, as in a medium shot or long shot. Place the camera below the eye-line of a character, pointing up – known as a low-angle shot – and that character will feel dominant, powerful, and worthy of respect. We are literally looking up to them. Place the camera at eye level; we feel like equals. Let the camera hover above a character or situation – known as a high-angle shot – and we feel like gods, looking down on everyone and everything. Each choice affects how we see and interpret the shot, scene, and story.
We can say the same about transitions from shot to shot. Think of them as conjunctions in grammar, words meant to connect ideas seamlessly. The more obvious examples, like fade-ins, fade-outs, or long dissolves, are still drawn from our experience. Think of a slow fade-out, where the screen drifts into blackness, as an echo of our experience of falling asleep, drifting out of consciousness. In fact, fade-outs are most often used in cinema to indicate the close of an act or segment of a story, much like the end of a long day. Dissolves are not unlike how we remember events from our own experience, one moment bleeding into and overlapping with another.
But perhaps the most common and least noticed transition, by design, is a hard cut that bridges some physical action on screen. It’s called cutting on action, and it’s a critical part of our visual lexicon, enabling filmmakers to join shots, often from radically different angles and positions, while remaining largely invisible to the viewer. The concept is simple: whenever a filmmaker wants to cut from one shot to the next for a new angle on a scene, she ends the first shot in the middle of some on-screen action, opening a door or setting down a glass, then begins the next shot in the middle of that same action. The viewer’s eye is drawn to the action on screen and not the cut itself, rendering the transition relatively seamless, if not invisible to the viewer.
Camera placement and transitions, along with camera movement, lighting style, color palette, and a host of other elements, make up the visual lexicon of cinematic language, all of which we will explore in the chapters to follow. In the hands of a gifted filmmaker, these subtle adjustments work together to create a coherent whole that communicates effectively (and invisibly). In the hands of not-so-gifted filmmakers, these choices can feel haphazard, unmotivated, or perhaps worse, “showy” – all style and no substance – creating a dissonant, ineffective cinematic experience. But even then, the techniques themselves remain largely invisible. We are left with the feeling that it was a “bad” movie, even if we can’t quite explain why. (Though by the end of this book, you should be able to explain why in great detail, probably to the great annoyance of your date. You’re welcome.)
EXPLICIT AND IMPLICIT MEANING
Once we have a grasp on these small, meaningful units of our collective cinematic language, we can begin to analyze how they work together to communicate bigger, more complex ideas.
Take the work of Lynne Ramsay, for example. As a director, Ramsay builds a cinematic experience by paying attention to the details, the little things we might otherwise never notice:
Cinema, like literature, builds up meaning through the creative combination of these smaller units, but, also like literature, the whole is – or should be – much more than the sum of its parts. For example, Moby Dick is a novel that explores the nature of obsession, the futility of revenge, and humanity’s essential conflict with nature. But in the more than 200,000 words that make up that book, few, if any, of them communicate those ideas directly. In fact, we can distinguish between explicit meaning, that is, the obvious, directly expressed meaning of a work of art, be it a novel, painting or film, and implicit meaning, the deeper, essential meaning, suggested but not necessarily directly expressed by any one element. Moby Dick is explicitly about a man trying to catch a whale, but as any literature professor will tell you, it was never really about the whale.
That comparison between cinema and literature is not accidental. Both start with the same fundamental element, that is, a story. As we will explore in a later chapter, cinema begins with the written word in the form of a screenplay before a single frame is photographed. And like any literary form, screenplays are built around a narrative structure. Yes, that’s a fancy way of saying story, but it’s more than simply a plot or an explicit sequence of events. A well-conceived narrative structure provides a foundation for that deeper, implicit meaning a filmmaker, or really any storyteller, will explore through their work.
Another way to think about that deeper, implicit meaning is as a theme, an idea that unifies every element of the work gives it coherence, and communicates what the work is really about. And really great cinema manages to suggest and express that theme through every shot, scene, and sequence. Every camera angle and camera move, every line of dialogue and sound effect, and every music cue and editing transition will underscore, emphasize, and point to that theme without ever needing to spell it out or make it explicit. An essential part of analyzing cinema is identifying that thematic intent and tracing its presence throughout.
Unless there is no thematic intent or the filmmaker did not take the time to make it a unifying idea. Then, you may have a “bad” movie on your hands. But at least you’re well on your way to understanding why!
So far, this discussion of explicit and implicit meaning, theme, and narrative structure points to a deep kinship between cinema and literature. But cinema has far more tools and techniques at its disposal to communicate meaning, implicit or otherwise. Sound, performance, and visual composition all point to deep ties with music, theater, and painting or photography as well. And while each of those art forms employs its own strategies for communicating explicit and implicit meaning, cinema draws on all of them at once in a complex, multi-layered system.
Let’s take sound, for example. As you know from the brief history of cinema in the last chapter, cinema existed long before the introduction of synchronized sound in 1927, but since then, sound has become an equal partner with the moving image in the communication of meaning. Sound can shape how we perceive an image, just as an image can change how we perceive a sound. It’s a relationship we call co-expressive.
This is perhaps most obvious in the use of music. A non-diegetic musical score, that is, music that only the audience can hear as it exists outside the world of the characters, can drive us toward an action-packed climax or sweep us up in a romantic moment. Or it can contradict what we see on the screen, creating a sense of unease at an otherwise happy family gathering or making us laugh during a moment of excruciating violence. In fact, this powerful combination of moving images and music pre-dates synchronized sound. Even some of the earliest silent films were shipped to theaters with a musical score meant to be played during projection.
But as powerful as music can be, sound in cinema is much more than just music. Sound design includes music but also dialog, sound effects, and ambient sound to create a rich sonic context for what we see on the screen. From the crunch of leaves underfoot to the steady hum of city traffic to the subtle crackle of a cigarette burning, what we hear – and what we don’t hear – can put us in the scene with the characters in a way that images alone could never do, and as a result, add immeasurably to the effective communication of both explicit and implicit meaning.
We can say the same about the relationship between cinema and theater. Both use a carefully planned mise-en-scene – the overall look of the production, including set design, costume, and make-up – to evoke a sense of place and visual continuity. Both employ the talents of well-trained actors to embody characters and enact the narrative structure laid out in the script.
Let’s focus on acting for a moment. Theater, like cinema, relies on actors’ performances to communicate not only the subtleties of human behavior but also the interplay of explicit and implicit meaning. How an actor interprets a line of dialog can make all the difference in how a performance shifts our perspective, draws us in or pushes us away. And nothing ruins a cinematic or theatrical experience like “bad” acting. But what do we really mean by that? Often it means the performance wasn’t connected to the thematic intent of the story, the unifying idea that holds it all together. We’ll even use words like, “The actors seemed like they were in a different movie from everyone else.” That could be because the director didn’t clarify a theme in the first place, or perhaps they didn’t shape or direct an actor’s performance toward one. It could also simply be poor casting.
All of the above applies to both cinema and theater, but cinema has one distinct advantage: the intimacy and flexibility of the camera. Unlike theater, where your experience of a performance is dictated by how far you are from the stage, the filmmaker has complete control over your point of view. She can pull you in close, allowing you to observe every tiny detail of a character’s expression, or she can push you out further than the cheapest seats in a theater, showing you a vast and potentially limitless context. And perhaps most importantly, cinema can move between these points of view in the blink of an eye, manipulating space and time in a way live theater never can. All of those choices affect how we engage the thematic intent of the story and how we connect to what that particular cinematic experience really means. And because of that, in cinema, whether we realize it or not, we identify most closely with the camera. No matter how much we feel for our hero up on the screen, we view it all through the lens of the camera.
And that central importance of the camera is why the most prominent tool cinema has at its disposal in communicating meaning is visual composition. Despite the above emphasis on the importance of sound, cinema is still described as a visual medium. Even the title of this chapter is How to Watch a Movie. It is not so surprising when you think about the lineage of cinema and its origin in the fixed images of the camera obscura, daguerreotypes, and series photography. All of which owe a debt to painting as an art form and a form of communication. In fact, the cinematic concept of framing has a clear connection to the literal frame, or physical border, of paintings. One of the most powerful tools filmmakers – and photographers and painters – have for communicating explicit and implicit meaning is simply what they place inside the frame and what they leave out.
Another word for this is composition, the arrangement of people, objects, and settings within the frame of an image. And if you’ve ever pulled out your phone to snap a selfie or maybe a photo of your meal to post on social media (I know, I’m old, but really? Why is that a thing?), you are intimately aware of the power of composition. Adjusting your phone this way and that to get just the right angle, to include just the right bits of your outfit, maybe edge Greg out of the frame just in case things don’t work out (sorry, Greg). The point is that composing a shot is a powerful way to tell stories about ourselves daily. Filmmakers, the really good ones, are masters of this technique. Once you understand this principle, you can start to analyze how a filmmaker uses composition to serve their underlying thematic intent to help tell their story.
One of the most important ways a filmmaker uses composition to tell their story is through repetition, a pattern of recurring images that echoes a similar framing and connects to a central idea. And like the relationship between shots and editing – where individual shots only really make sense once they are juxtaposed with others – a well-composed image may be exciting or even beautiful on its own, but it only starts to make sense in relation to the implicit meaning or theme of the overall work when we see it as part of a pattern.
Take, for example, Stanley Kubrick and his use of one-point perspective:
Or how Barry Jenkins uses color in Moonlight (2016):
Or how Sofia Coppola tends to trap her protagonists in gilded cages:
These recurring images are part of that largely invisible cinematic language. We aren’t necessarily supposed to notice them, but we are meant to feel their effects. And it’s not just visual patterns that can serve the filmmaker’s purposes. Recurring patterns, or motifs, can emerge in the sound design, narrative structure, mise-en-scene, dialog, and music.
But one distinction should be made between how we think about composition and patterns in cinema and how we think about those concepts in photography or painting. While all of the above employ framing to achieve their effects, photography and painting are limited to what the artist fixed in that frame at the moment of creation. Only cinema adds an entirely new and distinct dimension to the composition: movement. That includes movement within the frame – as actors and objects move freely, recomposing themselves within the fixed frame of a shot – as well as the movement of the frame itself, as the filmmaker moves the camera in the setting and around those same actors and objects. This increases the compositional possibilities exponentially for cinema, allowing filmmakers to layer in even more patterns that serve the story and help us connect to their thematic intent.
FORM, CONTENT, AND THE POWER OF CINEMA
As we become more attuned to the various tools and techniques filmmakers use to communicate their ideas, we can analyze their effectiveness better. We’ll be able to see what was once invisible. It's a kind of magic trick in itself. But as I tried to make clear from the beginning, my goal is not to focus solely on form, to dissect cinema into its constituent parts and lose sight of its overall power. Like any art form, cinema is more than the sum of its parts. And it should be clear already that form and content go hand in hand. Pure form, all technique, and no substance is meaningless. And pure content, all story and no style is didactic and, frankly, boring. How the story is told is as important as what the story is about.
However, just as we can analyze technique, the formal properties of cinema, to better understand how a story is communicated, we can also analyze content, that is, what stories are communicating, to better understand how they fit into the wider cultural context. Again, Cinema, like literature, can represent valuable cultural documents, reflecting our ideas, values, and morals back to us as filmmakers and audiences.
We’ll spend more time on content analysis – the idea of cinema as a cultural document – in the last couple of chapters of this book, but I want to take a moment to highlight one aspect of that analysis in advance. I’ve discussed at length the idea of cinematic language and the fact that, as a form of communication, it is largely invisible or subconscious. Interestingly, the same can be said for cinematic content. Or, more specifically, the cultural norms that shape cinematic content. Cinema is an art form like any other, shaped by humans bound up in a given historical and cultural context. No matter how enlightened and advanced those humans may be, that historical and cultural context is so vast and complex that they cannot possibly grasp every aspect of how it shapes their view of the world. Inevitably, those cultural blind spots, the unexamined norms and values that make us who we are, filter into the cinematic stories we tell and how we tell them.
The result is a kind of cultural feedback loop where cinema both influences and is influenced by the context in which it is created.
Because of this, on the whole, cinema is inherently conservative. That is to say, as a form of communication, it is more effective at conserving or re-affirming a particular view of the world than challenging or changing it. This is due in part to the economic reality that cinema, historically a very expensive medium, must appeal to the masses to survive. As such, it tends to avoid offending our collective sensibilities to make us feel better about who we already think we are. It is also partly due to the social reality that the people who historically had access to the capital required to produce that very expensive medium tend to all look alike. That is, primarily white and mostly men. And when the same kind of people with the same kind of experiences tend to have the most consistent access to the medium, we tend to get the same kinds of stories, reproducing the same, often unexamined, norms, values, and ideas.
But that doesn’t mean cinema can’t challenge the status quo or at least reflect real, systemic change in the wider culture already underway. That’s what makes the study of cinema, particularly in regard to content, so endlessly fascinating. Whether it’s tracking the way cinema reflects the dominant cultural norms of a given period or the way it sometimes rides the leading edge of change in those same norms, cinema is a window – or frame (see what I did there) – through which we can observe the mechanics of cultural production, the inner-workings of how meaning is produced, shared, and sometimes broken down over time.
EVERYONE’S A CRITIC
One final word on how to watch a movie before we move on to the specific tools and techniques employed by filmmakers. In as much as cinema is a cultural phenomenon, a mass medium with a crucial role in the production of meaning, it’s also an art form meant to entertain. And while I think one can assess the difference between a “good” movie and a “bad” movie in terms of its effectiveness, that has little to do with whether one likes it or not.
In other words, you don’t have to necessarily like a movie to analyze its use of a unifying theme or how the filmmaker employs mise-en-scene, narrative structure, cinematography, sound, and editing to communicate that theme effectively. Citizen Kane (Orson Welles, 1941), arguably one of the greatest films ever made, is an incredibly effective motion picture. But it’s not my favorite. Between you and me, I don’t even really like it all that much. But I still show it to my students every semester. This means I’ve seen it dozens and dozens of times, and it never ceases to astonish me with its formal technique and innovative use of cinematic language.
Fortunately, the opposite is also true: You can really like a movie that isn’t necessarily all that good. Maybe there’s no unifying theme, the cinematography is all style and no substance (or no style and no substance), the narrative structure is made out of toothpicks, and the acting is equally thin and wooden. (That’s right, Twilight, I’m looking at you.) Who cares? You like it. You’ve watched it more often than I’ve seen Citizen Kane, and you still like it.
That’s great. Embrace it because taste in cinema is subjective. But analysis of cinema doesn’t have to be. You can analyze anything. Even things you don’t like.
Video and Image Attributions:
An example of beta movement. Public Domain Image.
Lynne Ramsay – The Poetry of Details by Tony Zhou. Standard Vimeo License.
Kubrick // One-Point Perspective by kogonada. Standard Vimeo License.
MOONLIGHT // BLUE by Russell Leigh Sharman. Standard Vimeo License.
Have You Noticed This About Sofia Coppola’s Films? by Fandor. Standard YouTube License.
- Okay, it's actually a lot more complicated than that. Optic nerves don't "refresh" in the way we normally think of that term. In fact, the optic nerve is part of a complex system that incudes your eyeballs, retinas and brain, each of which performs at varying degrees of efficiency and changes as we age. But the numbers here are a good rule of thumb for thinking about how quickly we can process images. For more on how the optic nerve works, check this out: https://wolfcrow.com/notes-by-dr-optoglass-motion-and-the-frame-rate-of-the-human-eye/ ↵
Final Project: Short Film Schedule
Final Project
Purpose:
Work in a self-selected team of three students to create a short film (plus titles and credits).
You may negotiate a larger team if you have a clear production plan, and we will be creating a 2 to 8-minute piece short film. Even though we are working in groups, we also need to work together to support each other's "productions."
Here are six themes to use as a taking-off point, and please also consider that these are natural extensions of our film analysis and journal assignments (especially the explorative assignments)!
- Animation and Movement
- Slice of Life
- Choreography and Story-Telling
- Recreating a Scene
- Pastiche/Emulating Cinematography (recreating an iconic shot)
- Deconstructing Narrative.
Please also read this article by Mark Billen at FX. He is the creator of Hitfilm, the free film editor I encourage everyone to use for this project. He gives great suggestions on brainstorming, how to come up with ideas, and what to film.
Task:
Please remember that this is not a film school. We will study many aspects of film and its creation but expect insight and appreciation, not mastery, of this discipline. We don't expect great acting, fancy VFX, complex sets, or the use of high-quality equipment.
Choose your film's subject to minimize the impact of limited production resources. As for all assignments this semester, we will primarily evaluate the student and group's process, intermediate materials, and technical appreciation of cinematography.
The project development stages will follow this criteria:
Checkpoints:
- Module One:
- Group Selection
- Brainstorming ideas.
- Greenlight: convince one instructor to be your producer.
- Module Two:
- Explorative exercises.
- Automatic writing without editing the whole idea.
- Class presentation of Final Project proposals.
- Preproduction: your producer approves your script, shot list, or other preproduction.
- Module Three:
- Storyboard: bring 3 video clips/photographs/writings related to your ideas.
- Animatic: your producer approves a rough edit from preproduction materials and found footage.
- Module Four:
- Raw footage: your producer approves your footage.
- Module Five:
- Rough cut: your producer signs off on the first complete edit.
- Post-production and editing are complete; the final film is due at 11:59 p.m. May 26th.
- Self-evaluations are due May 28th. It may include up to one page of text.
The checkpoints are pass/fail; however, we essentially have to pass to continue. For the first, the group must sell the instructor on your concept and the practicality of executing the production plan. That instructor will then agree to be your producer for the remainder of the project. Don't structure this as a single pitch. Instead, please work with your group and the instructor to set reasonable expectations and a plan to achieve them.
You will then meet with your producer regularly during class, office hours, and appointments. You must receive approval for each checkpoint by the specified deadline.
These deadlines aim not to have you submit something at that time but to create a process that encourages continued contact throughout production.
We expect you'll receive signoff well before the weekly deadlines in the natural course of working with your producer.
Educational Goals
- Practice and then demonstrate the technical skills you acquired during the semester.
- Iterate on a production, refining your work and learning from peers, mistakes, and serendipity.
- Create a physical artifact for your portfolio.
- Experience the complete production cycle and the thrill of creation.
Pick up a camera. Shoot something. No matter how small, cheesy, or whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that, you're just negotiating your budget and your fee.
Requirements
To ensure everyone has sufficient support, we expect you to volunteer to act or crew for another project for a 2-hour session (it is okay if nobody takes you up on this, and you don't have to act if you're not comfortable with that)
- Preproduction materials:
- The script if there is dialogue.
- Storyboard
- Shot list
- Schedule for shoots, reserved equipment and spaces, actors, VFX, editing, and screenings
- The animatic is an outline of your film as a 540p MP4 constructed from storyboard panels, still frames, and/or existing footage (the usual copyright and plagiarism restrictions do not apply since this will not be public)
- Animatic (optional!)
- An actual video that approximates the pace, audio, and shots of your film without actually requiring real footage
- Examples:
- Use this Premiere project as your working draft, which continually improves as footage comes in during production.
- Footage
- Dailies plus B-roll coverage
- Multiple takes of all of the key shots
- About 10x as much footage as your expected running time to provide
- Rough cut:
- A coarsely edited collection of your footage as a 540p or 360p MP4. Audio can be a placeholder from the animatic, and there is no expectation of VFX or post. You can have up to two still shots from the storyboard or found footage if you haven't completed production.
- Final film:
- 2 to 8-minute final product (plus titles and credits) film in 720p MP4 format
- Must include titles, credits, and copyright information.
- For extra credit, include a "behind the scenes" reel showing some elements of your process, also in 720 MP4 format and less than 150 MB. For example, how did you create certain tracking shots, the set and takes, VFX breakdowns, etc?
- Your film may be stop motion, a documentary, a sequence of freeze-frame live-action stills, live-action, or animation.
- Your film must demonstrate knowledge of topics covered in class through:
- Camera footage you filmed (i.e., it can't be 100% animation, found footage, etc.)
- Intentional lighting
- Editing in the continuity/IMR style
- Audio is optional but highly recommended
Planning and scheduling your work is hard, sometimes. Here is a sample schedule for your group:
Week 1: Module One and Module Two
- Day 1-2: Group Selection and Brainstorming Ideas
- Day 3-4: Pitch your concept to the instructor and get a producer on board
- Day 5-6: Explorative exercises and automatic writing
- Day 7: Class presentation of Final Project proposals
Week 2: Module Two and Module Three
- Day 8-9: Preproduction: Producer approves script, shot list, or other preproduction elements
- Day 10-11: Storyboard creation (3 video clips/photographs/writings related to ideas)
- Day 12-13: Animatic: Producer approves a rough edit from preproduction materials and found footage
Week 3: Module Four and Module Five
- Day 14-15: Raw footage production: Producer approves your footage
- Day 16-17: Rough cut editing: Producer signs off on the first complete edit
- Day 18-20: Finalize post-production and editing, complete "behind the scenes" reel for extra credit
- Day 21: Final film, including titles, credits, and copyright information, is due at 11:59 p.m. on May 26th
Post-Completion Day
- Day 22: Self-evaluations are due by May 24th (up to one page of text)
You may submit your response in either a written, oral, or video format uploaded into the Google Classroom.
Iconic Films Shot in Tokyo
Filming a Scene:
For our film project, we will be recreating scenes from the films we analyze in this course, and our excursions are meant to facilitate this process. That being said, we cannot analyze every film that has taken place in Tokyo. This map lists some of those other locations; if you would like to recreate a scene from a film or series on this list for your final project, please submit a proposal with your group.
Other Iconic Films Shot in Tokyo:
- Tokyo Story (1953):
- Director: Yasujirō Ozu.
- Explores the generational divide in post-war Tokyo.
- Lost in Translation (2003):
- Director: Sofia Coppola.
- Portrays the bond between two lonely strangers against Tokyo’s neon-lit cityscape.
- The Fast and the Furious: Tokyo Drift (2006):
- Tokyo’s underworld adrenaline-fueled car racing culture takes center stage.
- Tokyo! (2008):
- Anthology of three short films by different directors presenting a surreal depiction of Tokyo.
- Like Someone in Love (2012):
- Director: Abbas Kiarostami.
- Delicately explores interpersonal relationships in Tokyo.
- The Wolverine (2013):
- Showcases Tokyo’s modernity, from skyscrapers to efficient bullet trains.
- Your Name (2016):
- Director: Makoto Shinkai.
- Animated film painting a vivid picture of Tokyo through two protagonists.
- Shoplifters (2018):
- Director: Hirokazu Kore-eda.
- Offers a poignant exploration of Tokyo’s marginalized communities.
- Tokyo Ghoul (2017):
- Live-action adaptation of the popular manga series, presenting a darker, supernatural side of Tokyo.
- Weathering With You (2019):
- Director: Makoto Shinkai.
- Animated film presenting Tokyo’s unpredictable weather patterns as a central narrative element.
Tokyo on the Small Screen: TV Shows Set in Tokyo:
- Tokyo Trial (2016-2017):
- Historical drama focusing on the international military tribunal held in Tokyo.
- Midnight Diner: Tokyo Stories (2016-present):
- Anthology series with heartwarming tales centered around a late-night diner in Tokyo.
- The Naked Director (2019-present):
- Biographical drama set in the 1980s, exploring the rise of adult video director Toru Muranishi.
- Alice in Borderland (2020-present):
- Thrilling series based on a manga, presenting a dystopian version of Tokyo.
- Tokyo Revengers (2021-present):
- Action-packed anime series about a man who travels back in time to save his girlfriend and change his regretful past.
Tokyo for the Young: Animated Films Set in Tokyo:
- Pom Poko (1994):
- Studio Ghibli film depicting raccoons fighting against urban development in Tokyo.
- Digimon Adventure: Our War Game! (2000):
- Popular anime film featuring Tokyo landmarks during a city-wide internet outage.
- Tokyo Godfathers (2003):
- Tells the story of three homeless people finding a baby on Christmas Eve in Tokyo.
- Tamagotchi: The Movie (2007):
- Sets the popular virtual pet franchise film in Tokyo and the Tamagotchi Planet.
- Summer Wars (2009):
- Presents a virtual world threatening to destroy Tokyo unless a young math genius can stop it.
Explorative Assignment, Slice-of-Life
Option One: Slice-of-Life Mini-Narrative (Fictionalizing Reality) Group Assignment
Purpose: To capture and then recreate a slice-of-life scene, offering students a chance to explore the nuances of everyday interactions and how they can be translated into a film narrative.
Preproduction Materials:
- Unscripted Dialogue Capture: Students film an unscripted, natural conversation, focusing on capturing genuine interactions. To create an unscripted review of a film viewed together at a local cinema, emulating the slice-of-life style of animation/filmmaking.
- Film Review: With your chosen group, visit a local cinema and view a film together with a local audience. I recommend the Toho cinema in Shinjuku for the iconic Godzilla statue.
Turn-in Methods:
- Footage: Raw footage of the unique, unscripted scene wherein the "actors" review the film they watched at the local cinema and their experience of viewing a film with a Japanese audience.
Option Two: Recreating a Scene; Jujutsu Kaisen: Shibuya Sky
Purpose: Work as a team on your group project to use the aforementioned sites from the excursions in this module to create your final project. You may work to complete any of the following portions of the final assignment:
Turn-in Methods:
- Storyboard: A storyboard that visually maps out each shot, tailored to the locations available.
- Shot List and Schedule: This is a comprehensive shot list and schedule that organizes shoots, equipment, and actor availability.
- Footage: Raw footage of the recreated scenes, demonstrating the application of cinematography techniques.
Please note that each of these items needs to be completed.
Task:
Complete the aforementioned journal following one of the prompts (noting that it is not imperative that you answer every question unless it is related and relevant to your overall point).
You may submit your response in either a written, oral, or video format uploaded into the Google Classroom.
Week One, Module Two - Mise-en-Scène
Allow me to introduce a word destined to impress your friends and family when you trot it out at the next cocktail party: Mise-en-Scène. And even if you don’t frequent erudite cocktail parties, and who does these days (a shame), it’s still a handy term to have around. It’s French (obviously), and it literally means “putting on stage.”
Why French? Sometimes, we like to feel fancy, and let’s face it: to an American, French is fancy.
But the idea is simple. Borrowed from theater, it refers to every element in the frame that contributes to the overall look of a film. And I mean everything: set design, costume, hair, make-up, color scheme, framing, composition, lighting… Basically, if you can see it, it contributes to the mise-en-scène.
I could have started with any number of different tools or techniques filmmakers use to create a cinematic experience. The narrative might seem a more obvious starting point. Cinema can’t exist without a story; chronologically speaking, it all starts with the screenplay. Or I could have led off with cinematography. After all, we often think of cinema as a visual medium. But mise-en-scène captures much more than any one tool or technique in isolation. It’s more an aesthetic context in which everything else takes place, the unifying look, or even feel, of a film or series.
And this is probably as good a time as any to discuss the role of a director in cinema. There’s a school of thought out there, known as the auteur theory, that claims the director is the “author” of a work of cinema, not unlike the author of a novel, and that they alone are ultimately responsible for what we see on the screen. Cinema requires dozens, if not hundreds, of professionals dedicated to bringing a story to life. The screenwriter writes the script, the production designer designs the sets, the cinematographer photographs the scenes, the sound crew captures the sound, the editor connects the shots together, and each of them has whole teams of experts working below them to make it all work on screen. But if there’s any hope of that final product having a unified aesthetic and a coherent, underlying theme that ties it all together, it needs a singular vision to give it direction. That, really, is the job of a director. To ensure everyone is moving in the same direction, making the same work of art. And they do that not so much by managing people – they have an assistant director and producers for that – they do it by managing mise-en-scène, shaping the overall look and feel of the final product. While mise-en-scène has many moving parts and many different professionals in charge of shaping those individual parts into something coherent, it’s the one element of cinema that is most clearly the responsibility of the director.
This talent for shaping mise-en-scène is one reason we can readily identify great directors' work. Think about the films of Alfred Hitchcock, Agnes Varda, Wes Anderson, Yosujiro Ozu, Claire Denis, or Steven Speilberg (and if some of those names are unfamiliar, seek them out!). If we know their work at all, most of us could pick out one of their films after just a few minutes, even if we had never seen it before. This is not just because of some signature flourish or idiosyncratic visual habit (though that’s often part of it) but because their films have a certain look to them, a certain aesthetic that saturates the screen.
Take the films of Claire Denis, for example:
Denis’s films generate an enveloping atmosphere that you can almost taste and feel, and all of that is part of her consistent (and brilliant) use of mise-en-scène.
Or how about the films of Wes Anderson:
Anderson’s films consistently use symmetrical compositions, smooth, precise tracking shots, and slow motion, but it’s the overall effect, the mise-en-scène that makes the impression (check out more break-downs of Wes Anderson’s style here and here).
Because mise-en-scène refers to this “overall look,” it can feel rather broad (and even vague) as a concept. So, let’s break it down into four elements of design: setting, character, lighting, and composition. We’ll tackle each one in turn.
SETTING
Nothing we see on the screen in the cinema is there by accident. Everything is carefully planned, arranged, and even fabricated – sometimes using computer-generated imagery (CGI) – to serve the story and create a unified aesthetic.
That goes double for the setting.
If mise-en-scène is the overall aesthetic context for a film or series, the setting is the literal context, the space actors and objects inhabit for every scene. And this is much more than simply the location. It’s how that location, whether it’s an existing space occupied for filming or one purpose-built on a soundstage, is designed to serve the vision of the director.
As we saw in Chapter One, in the early days of motion pictures, when cinematic language was still in its infancy, not much thought was given to the design of a setting (or editing or performance, and no one was even thinking about sound yet). But it didn’t take long for filmmakers to realize they could employ the same tricks of set design they used in theater for the cinema.
One of the pioneers of this was the French filmmaker Georges Méliès. Take, for example, his 1903 film The Kingdom of the Fairies:
Méliès’s use of elaborate sets, along with equally elaborate costumes, hairstyles, make-up, and even the hand-tinting of the film itself, all contribute to the fantastical look and feel of the film. He brought a similar design sensibility to all of his films, including the ground-breaking 1902 film A Trip to the Moon.
A decade or so later, this attention to detail in the design elements of cinema had become commonplace. Indeed, many of the more well-known early silent films are famous for their sophisticated mise-en-scène, particularly in regard to setting, often above all else.
Check out this scene again from D. W. Griffith’s Intolerance (1916):
The set design alone is staggering. Built in the middle of Los Angeles, it took four years to dismantle it.
Or consider the opening of Fritz Lange’s Metropolis (1927):
The film draws us into a mechanized, dystopian future – one of the first science-fiction films in history – and its success lies in its careful design of the setting to serve that narrative purpose.
Once filmmakers realized the importance of setting as an element of design and what it contributed to the overall look of their films, it wasn’t long before a position was created to oversee it all: the production designer. The production designer is the point person for the overall aesthetic design of a film or series. Working closely with the director, they help translate the aesthetic vision for the project – its mise-en-scène – to the various design departments, including set design, art department, costume, hair, and make-up. But arguably, their most important job is to make sure the setting matches that aesthetic vision, specifically through set design and set decoration.
Set design is precisely what it sounds like the design and construction of the setting for any given scene in a film or series. Plenty of productions use existing locations and don’t necessarily have to build much of anything (though that doesn’t mean there isn’t an element of design involved, as we shall see). But when production requires complete control over the filming environment, production designers, along with conceptual artists, construction engineers, and sometimes a whole army of artisans, must create each setting, or set, from the ground up. And since these sets have to hold up under the strain of a large film crew working in and around them for days and even weeks, they require as much planning and careful construction as any real-life home, building, or interplanetary city out there.
Take a look at the incredible detail involved in bringing the set design to life for Thor: Ragnarok (Taika Waititi, 2017):
D. W. Griffith can take a seat.
These sets may be built on-site to blend in with the surrounding landscape, or they may be built within a large, windowless, sound-proof building called a soundstage. A soundstage provides the control over the environment production designers need to give the director precisely the look and feel she wants from a particular scene. On a big enough soundstage, a production designer can fabricate interiors and exteriors, sections of buildings, and even small villages. And since it is all shielded from the outside, the production has complete control over lighting and sound. It can be dawn or twilight for 12 hours a day. And a shot will never be interrupted by an airplane flying loudly overhead.
The use of soundstages is particularly helpful when producing serialized content. A TV or streaming series, especially one that uses the same few locations over and over – the family home, the mobster’s headquarters, the king’s palace – needs access to those sets for months at a time, year after year, for as long as we keep watching. Of all those series you binge-watch on the weekends (or during the week when you should be reading this), almost all of them depend upon sets built from the ground up and housed on soundstages for years on end.
Of course, sometimes, the setting of a particular production requires more than a production designer can deliver with the materials available (or the time or the budget, as the case may be). In that case, the setting must be augmented with computer-generated imagery (CGI). The most common way this is implemented is through the use of green screen technology. The idea is fairly simple. The set is dressed with a backdrop of bright green (or blue; the actual color isn’t terribly important), and the scene is filmed as usual. Then, in post-production, the software picks out that particular color and replaces it with imagery either filmed elsewhere or generated by digital artists, a process called keying. For this to work, no other object or article of clothing can match that shade of green, or it will be replaced as well. And with ever-improving technology, the sky is no longer the limit to what designers can offer up for the screen.
Whether the production designer is building the set from the ground up on a soundstage or simply using an existing location, the setting is still a kind of blank canvas until that space is filled with all of the essential details that really tell the story. That’s where set design meets set decoration. Still under the supervision of the production designer, set decorating falls to any number of skilled artisans in the art department. They design everything from the color on the walls, to the texture of the drapes, to the style of the furniture, to every ashtray, book, and family photo that might show up on screen. And that goes for existing locations as well. A film production using someone’s actual home for a scene will likely replace all of the furniture, repaint the walls, and fill it with their own odds and ends that help tell the cinematic story. And then, hopefully, put it all back the way they found it when they’re done.
Take a look at the ways the production designer for the Netflix series The Crown converts existing locations into a Buckingham Palace throne room or the Queen’s private apartment:
This is where storytelling through the physical environment – the setting – can really come alive. Every object placed just so on a set adds to the mise-en-scène and helps tell the story. Those objects could be in the background providing context – framed photos, a trophy, an antique clock – or they could be picked up and handled by characters in a scene – a glass of whisky, a pack of cigarettes, a loaded gun. We even have a name for those objects, props, short for “property” and also borrowed from theater, and a name for the person in charge of keeping track of them all, a prop master.
As should be clear by now, setting is one of the most important design elements in creating a consistent mise-en-scène. Not simply the location – a suburban home, a high-rise office building, a spaceport on Mos Eisley – but all of the details that fill that location, make it come alive as a lived-in space, and most importantly, help tell the cinematic story. One way we can begin to see the filmmaker's intention, to understand how she is subtly (and maybe not so subtly) manipulating our emotions through cinematic language, is to pay attention to these details. The very details we’re not supposed to notice.
CHARACTER
Character is a term that will come up a lot. We use it to describe how a screenwriter invents believable characters that inhabit a narrative structure. And we use it to describe how an actor inhabits that character in their performance. But we can also examine how the physical design of a character, through costume, make-up, and hairstyle, not only contributes to the mise-en-scène but also helps fully realize the work of both screenwriters and actors.
Typically, when we think of “character design,” we might immediately think of fantastic creatures dreamed up in a special effects studio. They might be animated through CGI, fabricated from latex, and worn by an actor. And all of that is a reasonable way to think about the concept of character design. But in some ways, that is just a much more extreme version of how I would like to frame the work of costume designers and hair and make-up professionals.
Just as a screenwriter must create – or design – a character on the page and an actor must create – or design – their approach to inhabiting that character, the wardrobe, hair, and make-up departments must also design how that character is going to look on screen. This design element is, of course, more obvious the less familiar the world of the character might be. The clothing, hair, and make-up of characters inhabiting worlds in a distant time period or even more distant galaxy will inevitably draw our attention. (Though even there, the intention is to add to the mise-en-scène without distracting us from the story.) But even when the context is closer to home, a story set in our time, in our culture, maybe even our own hometown, every element of the clothes, the hair, and the make-up is carefully chosen, sometimes made from scratch, to fit that context and those particular characters. In other words, each character’s look is carefully designed to support the overall mise-en-scène and help tell the story.
Take costume design, for example. We often think of “costume” as another word for disguise or playing a character. But the last thing a filmmaker wants is for the audience to think of their characters as actors in disguise or playing dress-up. They want us to see the characters. Period. The wardrobe should fit the time, place, and, most importantly, the character. Once that is established, the designer can layer in more subtle hints about the larger context, the underlying theme, by adding a touch of color that serves as a visual motif or introducing some alteration in the wardrobe that dramatizes some narrative shift:
What is important to note is that costume design in film is not about fashion or what looks “good” on an actor. It’s about what looks right on a character, what fits the setting, and the film's overall look.
These same principles can be applied to hair and make-up. As with costume design, it’s easy to think of the more extreme examples of hair and make-up design, especially when the setting calls for something historic, other-worldly, or… horrifying. The special effects make-up for the gory bits of your favorite horror films can sometimes take center stage. But these elements are often not meant to draw our attention at all. To achieve that, perhaps ironically, hair and make-up require even more attention from their respective designers. This is due in part to the technical requirements of filming. Bright lights can reveal every distracting blemish or poorly applied foundation, and as camera and image technology improves, the techniques required to hide the fact that actors are even wearing make-up must be continually refined. But it is also because hair and make-up are incredibly personal and intimately connected to the character:
And while all of this is tremendously important for the audience, it is even more important for the actor playing the character. We’ll discuss the various ways an actor approaches their performance in detail in another chapter, but for now, it’s important to note how much actors rely upon the design of their character through costume, hair, and make-up. Putting on the wardrobe, seeing themselves in another era, a different hairstyle, looking older or younger, helps the actor literally and metaphorically step into the life of someone else and do so believably enough that we no longer see the actor, only the character in the story.
LIGHTING
The first two elements of design in mise-en-scène – setting and character – fall squarely under the supervision of the production designer and the art department. The next two – lighting and composition – fall to the cinematographer and the camera department but are just as important as elements of design in the overall look of the film. We will take a deeper dive into each in a later chapter on cinematography, but for now, let’s take a quick look at how these elements fit into mise-en-scène.
As should be obvious, you can’t have a cinema without light. Light exposes the image and, of course, allows us to see it. But it’s the creative use of light, or lighting, that makes it an element design. A cinematographer can illuminate a given scene with practical light, that is, light from lamps and other fixtures that are part of the set design, set lights, light fixtures that are off-camera and specifically designed to light a film set, or even available light, light from the sun or whatever permanent fixtures are at a given location. But in each case, the cinematographer is not simply throwing a light switch; they are shaping that light, making it work for the scene and the story as a whole. They do this by emphasizing different aspects of lighting direction and intensity. A key light, for example, is the primary light that illuminates a subject. A fill light fills out the shadows a strong key light might create. And a backlight helps separate the subject from the background. And it’s the consistent use of a particular lighting design that makes it a powerful part of mise-en-scène.
Two basic approaches to lighting style can illustrate the point. Low-key lighting refers to a lighting design where the key light remains subtle and even subordinate to other lighting sources. The result? A high-contrast lighting design that makes consistent use of harsh shadows. Another word for this is chiaroscuro lighting (this time, we’re stealing a fancy word from Italian). Think of old detective movies with the private eye stalking around the dark streets of San Francisco.
Classic low-key lighting design.
High-key lighting refers to a lighting design where the key light remains the dominant source, resulting in a low-contrast, even flat, or washed-out look to the image. Think of art-house dramas set in stark, snowy landscapes or even big Hollywood comedies that try to avoid “interesting” shadows that might distract us from the joke.
In either case, the cinematographer, working closely with the director and production designer, is using light as an element of design, contributing to the overall mise-en-scène.
COMPOSITION
The fourth and final design element in considering mise-en-scène – one that I touched on in the last chapter and will receive much more attention in the chapter on cinematography – is composition. As discussed in Chapter Two, composition refers to the arrangement of people, objects, and settings within the frame of an image. And because we are talking about moving pictures, there are really two important components of composition: framing, which even photographers must master, and movement. In the case of cinematic composition, movement refers to movement within the frame as well as movement of the frame as the cinematographer moves the camera through the scene. All of which are critical aspects of how we experience mise-en-scène.
Like lighting, composition falls under the responsibility of the cinematographer. While there are many technical and artistic considerations when it comes to framing and movement, cinematographers are also keenly aware of the design element of composition. In fact, they often describe at least part of their job as designing a shot. Part of this process involves arranging people, objects, and settings in the frame to achieve a sense of balance and proportion, often dividing the frame into thirds horizontally and vertically to ensure proper distribution. We call this the rule of thirds, and it’s fairly common in photography. In fact, take out your phone right now, open the camera app, and you’re likely to see a faint grid across the screen. That’s there to help you balance the composition of your selfie according to the rule of thirds. Another important part of the process of designing a shot is the choreography involved in moving the camera through the scene, whether on wheels, on a crane, or strapped to a camera person.
Again, we’ll spend more time on this subject in a later chapter, but take a look at how Japanese filmmaker Akira Kurosawa approaches the composition of movement in designing his shots:
Or how Andrea Arnold uses framing and composition to communicate isolation, captivity, or a deep connection to the earth:
A thoughtfully composed frame does more than create a pleasing image. It can isolate characters, focus our attention, and draw us into the story without us ever really noticing the technique itself.
Unless we know to look for it.
CINEMATIC STYLE
Taken together, setting, character, lighting, and composition make up the key elements of design in creating an effective and coherent mise-en-scène. As discussed earlier, it’s one of the ways we can pick out the work of great filmmakers. A consistent mise-en-scène becomes a kind of signature style of a filmmaker.
But it can also mark the signature style of a particular genre or type of cinema. Take film noir, for example. Remember those detective movies I mentioned earlier? They are part of a whole trend in filmmaking that began in the 1940s with titles like The Maltese Falcon (John Huston, 1941), Double Indemnity (Billy Wilder, 1944), and The Big Sleep (Howard Hawks, 1946). These films and many more are part of a style of filmmaking that includes a gritty, urban setting, tough, no-nonsense characters, low-key lighting, and off-balance compositions. Sometimes, they feature a private detective on a case, but not always. Usually, they were filmed in black and white, but not always. In fact, film noir – which literally means “dark film” in French (what is with all the French?!) – has been historically difficult to define because the specific elements can vary so widely. However, one easy way to identify a film as part of that tradition is through its mise-en-scène. Mise-en-scène isn’t about any one element; it’s that overall look, the whole, that is greater than the sum of its parts.
And that can extend to a whole national trend in cinema as well. Because cinema is so profoundly connected to a particular cultural context, part of that gives and takes in the cultural production of meaning, it should come as no surprise that there are specific periods in a given place and time where cinema can take on a kind of national style. Where cinema artists in that same place and time are all speaking the same cinematic language, as a result, produces a unified, identifiable style, which is another way of saying a consistent mise-en-scène.
One example of this can be found in the films produced in Japan.
According to the Center for Japanese Studies, the Japanese cinematic style is a set of cinematographic techniques commonly detected in Japanese filmmaking of all ages, such as long ASL (average shot length), static or slow camera movement, emotions expressed via natural phenomenons, and, to a lesser extent, deep focus shots, flat lighting, and shots empty of reference (as in lingering on details that don’t directly connect to the narrative). The Japenese Cinema Archives terms this Japenese Cinimalism.
There is perhaps no better representative of Japanese cinema than the aforementioned Akira Kurosawa. For a taste, here is a video of thirty-five scenes from Kurosawa’s iconic remake of Shakespeare’s King Lear, Ran, one of his “color” period films.
However, there is an entirely different kind of medium that Japan is more famous for in modern America: animation. It may be obvious, but animation is an entirely different medium than traditional cinema.
Consider that Andre Bazin, a renowned and influential French film critic, asserted,
All art is founded upon human agency, but in photography alone can we celebrate its absence… photography's objectivity confers upon it a degree of credibility absent from any painting.
This begs the question: can we conceive animation as a collection of individual paintings? Is it subject to the same criticisms as other films, and does it have any more objectivity because it is a moving image or a created world unto itself? Perhaps the best example is a film we will study in this course, Akira. This analysis of how light was used and animated in Akira demonstrates not only the potential of animation and how it can push traditional film but also how different the process of its creation is.
Spirited Away is celebrated for its meticulous hand-drawn animation, as is Akira, which aligns with Lev Manovich's (a professor and scholar from the University of New York) observations on the significance of manual image construction in the digital age. As we analyze the slice-of-life, let us consider Manovich's point of view. Specifically when he asserts the following on his website: Manovich, where he has published his work, in which he notes that:
Seen in this [rampant use of CGI in live action films] context, the manual construction of images in digital cinema represents a return to nineteenth century pre-cinematic practices, when images were hand-painted and hand-animated. At the turn of the twentieth century, cinema was to delegate these manual techniques to animation and define itself as a recording medium. As cinema enters the digital age, these techniques are again becoming the commonplace in the filmmaking process. Consequently, cinema can no longer be clearly distinguished from animation. It is no longer an indexical media technology but, rather, a sub-genre of painting.
He follows up later by stating:
Manual construction and animation of images gave birth to cinema and slipped into the margins...only to re-appear as the foundation of digital cinema. The history of the moving image thus makes a full circle. Born from animation, cinema pushed animation to its boundary, only to become one particular case of animation in the end.
In Spirited Away, Hayao Miyazaki masterfully employs framing techniques to weave a rich tapestry of narrative and emotion, grounding the film in a visually and thematically dense landscape. Wide shots are key in establishing the expansive world of the spirit realm, offering viewers a sense of scale and immersion into its mystical boundaries. These wide frames are not merely for aesthetic appeal but serve a narrative function, situating Chihiro within a vast, almost overwhelming, mystical setting. This technique underscores the grandeur of the spirit world while highlighting Chihiro's initial isolation and the monumental nature of her journey.
Conversely, Miyazaki's strategic use of close-ups intimately connects the audience with Chihiro's emotional journey. Focusing closely on Chihiro’s expressions and reactions, these shots capture the subtle shifts in her emotions as she navigates the challenges of the spirit world. This careful visual articulation of Chihiro's emotional state fosters a deep, empathetic connection, allowing the audience to feel her fears, joys, and growth. The emotional depth conveyed through these close-ups is pivotal, as it transforms Chihiro’s journey into a shared emotional experience with the audience, making her character development and the narrative’s emotional stakes more engaging and relatable. So, It may be true that CGI has essentially turned some live-action films into quasi-animations, but it is also true that animation employs techniques seen in live-action films.
Interestingly, as we explore the most technologically advanced city in the world, DamiLee, notes how Artificial Intelligence could never write Miyazaki's films, and it involves those very moments of slice of life.
As Dami states in the video, this meticulous attention to mise-en-scène is evident in the way spaces within Spirited Away are designed to evoke the feeling of ma—the Japanese concept of negative space, emphasizing the tension and interplay between objects (this is a concept that will come up again). This principle shapes how viewers perceive and interact with the film's world, allowing for moments of reflection and a deeper connection to the characters.
The film's setting, infused with rich sensory details, allows viewers to feel the dampness on their skin or the wind in their hair, transcending cinema's visual and auditory mediums. This sensory engagement is achieved through detailed compositions that include lighting techniques like komorebi—the dappled light filtering through trees, creating a dream-like atmosphere that is distinct to Studio Ghibli's storytelling style.
That is the power of mise-en-scène in any context: to unify a cinematic experience and to provide the aesthetic context for whatever else the filmmaker might be up to. Drawing on setting, character, lighting, and composition, mise-en-scène is more than any one technique; it’s a film's overall look or feel and is far greater than the sum of its parts. This is why I chose to start here in our exploration of how, exactly, cinema works the way it does.
Video and Image Attributions:
The Sensual World of Claire Denis by Little White Lies. Standard YouTube License.
The Wes Anderson Obsession by Ana Romão. Standard YouTube License.
Georges Méliès – The Kingdom of the Fairies / Le Royaume des Fées (music by Steffen Wick) by PIANO PARTICLES. Standard YouTube License.
Intolerance (1916) — Belshazzar’s feast in Babylon by Fix Me A Scene. Standard YouTube License.
Metropolis (opening scenes) with score by Zack Kline by Zack Kline. Standard YouTube License.
Go behind-the-scenes of the ‘Thor: Ragnarok’ set design by QAGOMA. Standard YouTube License.
All Hollywood VFX Removed! What Movies Really Look Like by Fame Focus. Standard YouTube License.
‘The Crown’ Sets Explained by the Show’s Set Designer | Notes on a Set by Architectural Digest. Standard YouTube License.
Costume Design: The Hidden Layer of Movie Magic by Now You See It. Standard YouTube License.
The art of Hollywood special effects makeup by CBS Sunday Morning. Standard YouTube License.
The Big Combo, 1955, Joseph H. Lewis, dir. Public Domain Image.
Akira Kurosawa – Composing Movement by Every Frame a Painting. Standard YouTube License.
Andrea Arnold’s Women in Landscapes by Fandor. Standard YouTube License.
Center for Japanese Studies Publications: Japanese Cinema: Film Style and National Character
AKIRA: How To Animate Light by Nerdwriter1. Standard Youtube License.
Why Studio Ghibli movies CAN'T be made with AI by DamiLee. Standard Youtube License.
Explorative Assignment: Animation and Movement
Explorative Assignment: Animation and Movement
Purpose:
In this assignment, we turn to the slice-of-life animation genre; we turn to Ghibli and a slightly pissed-off red panda. Aggretsuko and Spirited Away may not exemplify the slice-of-life genre on the surface, but each has the unique ability to transform the mundane into the extraordinary. Through the lens of animation, these stories celebrate the nuanced, often overlooked moments of daily existence, inviting viewers to find beauty, resilience, and inspiration in the rhythms of regular life. Whether navigating the complexities of adulthood in a metropolitan office or exploring the tender awakenings of first love in suburban Tokyo, these narratives remind us that within every ordinary life lies an extraordinary story waiting to be told.
In this assignment, we seek to recreate this slice-of-life scenario by reinterpreting the animation, and yes, this is an invitation to engage in one of Tokyo's most famous pastimes: karaoke.
Criteria:
Option One: Aggretsuko
Recreate a specific scene that captures a significant moment in the protagonist's life, emphasizing the animation style, character dynamics, and how these elements serve the narrative's exploration of adult life and self-expression.
Option Two: Spirited Away
Focus on a scene that highlights the movie's core themes of slice-of-life and coming-of-age. Pay special attention to the animation and movement, analyzing how they contribute to the story and character development.
Turn-in Methods:
- Script: A detailed script that outlines the dialogue, action, and camera work of the chosen scene.
- Storyboard: A visual map of each shot in the scene, tailored to replicate the original animation's framing and composition.
- Shot List and Schedule: Organize shoots, equipment, and participants with a clear plan that mirrors the original scene's complexity and timing.
- Animatic: An animatic that sequences the storyboard into a rough visual flow, mimicking the pacing and motion of the original animation.
- Footage: Raw footage or animation that closely replicates the chosen scene, demonstrating careful attention to cinematography and performance techniques.
Required Scene Analysis:
In addition to the recreated scene, each student must submit a 200-300 word analysis focusing on the animation within their selected scene. This analysis should explore:
- The technical aspects of the animation (e.g., frame rate, style, character movement).
- How the animation style contributes to the overall narrative and character development.
- Personal interpretation of why specific animation techniques were used and what they convey about the scene's thematic and emotional content.
Option Three: Recreating a Scene
Purpose: Work as a team on your group project to use the aforementioned sites from the excursions in this module to create your final project. You may work to complete any of the following portions of the final assignment:
Turn-in Methods:
- Storyboard: A storyboard that visually maps out each shot, tailored to the locations available.
- Shot List and Schedule: This is a comprehensive shot list and schedule that organizes shoots, equipment, and actor availability.
- Footage: Raw footage of the recreated scenes, demonstrating the application of cinematography techniques.
Please note that each of these items needs to be completed.
Task:
Complete the aforementioned journal following one of the prompts (noting that it is not imperative that you answer every question unless it is related and relevant to your overall point).
You may submit your response in either a written, oral, or video format uploaded into the Google Classroom.
Example film critique of Whisper of the Heart: Whisper of the Heart: A Reflection on Writing from a Film Academic
Film Journal: Kurosawa; Godzilla; Midnight Diner
Film Journal; Mise en Scene
In our earlier chapters, we discussed Akira Kurosawa. How could we not? He is one of the greatest directors of all time in cinema. In terms of Japanese cinema, he is nearly unrivaled.
Here is what the Center for Asian Studies says about Kurosawa and his artistic way of depicting life:
Though Kurosawa made his career in film, his earliest artistic ambitions focused on painting and illustration. In 1936, forced to find a more lucrative profession, Kurosawa found work as an assistant film director trainee and succeeded so well in this form that he began directing entire films himself in the 1940s. His first film, Sugata Sanshiro, released in 1943, depicts in Buddhist terms a young man’s spiritual and physical path to becoming a judo expert. According to film historian Donald Richie, this film not only shows Kurosawa’s artistic independence (the director constantly fought with war-time censors who wanted the film to show nationalistic spirit and support for the war effort), but also reveals a major theme of Kurosawa’s work: the interplay of illusion and reality. The popularity of this film in Japan led to several more, some set in the past world of the warrior, such as Seven Samurai (1954), while others, such as No Regrets for Our Youth (1946) and Ikiru (1952), explore illusion and reality in post-war Japan, engaging the personal and political dimensions of social issues. Kurosawa’s first international success, as well as his first academy award, came in the early 1950s with Rashomon, a film which relates a crime through the accounts of three participants whose quite different perspectives on the event make the viewer wonder whether the notion of truth has any value at all.
(They say a lot more; you should check it out)
Purpose:
In this journal, the student should pick a scene to analyze to demonstrate a critical understanding of mise-en-scene, the overall process of constructing a set, set design, and its overall impact on the "invisibility" of film. This video analysis presented by Every Frame a Painting demonstrates how Kurosawa employs geometry within a scene to keep the scene alive:
In our analysis of a scene, we will be attempting to explore the geometry of a scene through our analysis of mise-en-scene.
Purpose:
Please write a critique of a scene from either Midnight Diner or Godzilla Minus One using the principles of geometry in a scene as described above.
Here is the challenge for our journal entries: this is not my textbook; it is our textbook. Is there a section of this module you think could be better, or would you like to add to it? Go for it. That is the point.
Prompts:
Reflect on a scene from either Midnight Diner or Godzilla Minus One and analyze it through the lens of geometric composition as described in the art of cinema. Consider the scene's mise-en-scène closely. Evaluate whether the scene unfolds in a genuine locale or on a constructed set. Is it an indoor or outdoor setting? Does it occur during the daytime or at night? Assess the lighting—does it employ high-key or low-key techniques? Highlight any notable elements of the production design. Is there evident use of computer-generated imagery (CGI)? Delve into why the filmmakers might have opted for these specific staging choices.
Focus on the scene's geometric structure—how are the characters and objects arranged? For instance, are they positioned to form simple shapes like squares and triangles, similar to Akira Kurosawa's approach in The Bad Sleep Well? Kurosawa's scenes often pivot around geometric forms, creating visual tension and narrative flow without relying on excessive dialogue or cuts. This technique directs the viewer's gaze naturally, from one character to another, within structured frames like triangles and squares that evolve with the scene's dynamics.
Consider a character that stands out to you. Reflect on their design—how their attire, hairstyle (if applicable), and personal artifacts or accessories contribute to their identity. Do these elements transform over the course of the narrative? What do these design choices reveal about the character's personality, status, or evolution?
Criteria:
All journal entries should use correct MLA formatting, specific diction and terms from the module, and a direct answer to the prompt using specific scenes and examples from the film you are reviewing. We must also provide a work cited page for the film we are reviewing!
Your response should be at least 500 words.
Task:
Complete the following one of the prompts (noting that it is not imperative that you answer every question unless it is related and relevant to your overall point).
You may submit your response in either a written, oral, or video format uploaded into the Google Classroom.
Example film critique of Kurosawa: Kurosawa on the Human Condition: A Technical Film Analysis
Week Two, Module One - Cinematography
Photography is the art of fixing an image in durable form through either a chemical or digital process. It requires a detailed, scientific knowledge of how light reflects off the lived environment and how that light reacts to various light-sensitive media. It also requires a sophisticated grasp of color temperature and the interplay of light and shadow. An artist’s sensibility to composition, the arrangement of objects, and setting within the camera's frame to achieve balance and visual interest. Not to mention a deep, technical understanding of the gear required, cameras, formats, lenses, and their respective idiosyncrasies. And it helps if you know how to tell a story in a single image, frozen in time. After all, a picture is worth a thousand words.
Now, do that at least 24 times every second. That’s cinematography.
Capturing the moving image. For many of film lovers and even just the casual viewer, this is what we show up for. But I’ve waited five chapters to discuss it because it’s important to understand that cinematography – while it may often get the most glory – is only one part of how cinema works. Without a sophisticated mise-en-scéne and a narrative to follow, it’s just a bunch of meaningless images. Not to mention the importance of editing, sound, and performance. Put it all together, cinematography is the anchor point to a much larger cinematic experience.
The person responsible for all of this is the cinematographer, sometimes known as the director of photography (DP). Their job is to translate the director’s vision into usable footage, using all of the photographic skills listed above and only after making a series of crucial decisions, which we will get to below. It is one of the most technical jobs in cinema, requiring as much science as it does art:
And just as the production designer oversees a whole crew of craftspeople helping to fully realize the mise-en-scéne, the cinematographer also relies on a large team known as the camera department. The camera department includes the camera operator, the person actually handling the camera. I know; it seems like that should be the cinematographer. And it often is. But on larger productions with multiple cameras or very complex shots, the cinematographer can only be in one place at a time. There’s also the 1st assistant camera (1st AC), which is responsible for the camera components, swapping out lenses, and, most importantly, keeping the camera in focus. However, that last job is sometimes given to another dedicated member of the team, the focus puller. Then you have the 2nd assistant camera (2nd AC), who assists the 1st AC and often operates the slate or clapper (more on that later).
A relatively new member of the camera department is the Digital Imaging Technician (DIT). With the rise of digital cinematography, instead of a dedicated person responsible for loading film onto the camera (known as a film loader, so creative with the names), we now have a person solely responsible for organizing the digital files coming off the camera. That can include quality control and color correction during the shoot.
Outside the dedicated camera department, the cinematographer also oversees the lighting department as well as the grip department, also known collectively as grip and electric. The lighting department is, well, responsible for all the lights required to shoot a scene. As should be obvious, lights require electricity. And electricity can be dangerous, especially when you have 100 crew people running around trying to get a shot before lunch. So, the head of the lighting department is a skilled electrician known as the gaffer. The gaffer has a first assistant as well, called the best boy. (I know, not very gender-neutral. If the “best boy” is female, they might be called best babe, which is worse.) And then a whole crew of electrics is responsible for putting the lights wherever the gaffer tells them to. Grips are there to move everything else that isn’t a light. That includes lighting stands, flags, bounces, even cranes, dollies, and the camera itself. The head of the grip department is the key grip, and one of their most important jobs is on-set safety. With so many literal moving parts, it is very easy for someone to get hurt.
That’s a lot of people to keep track of for one cinematographer, but fortunately, there is a tightly controlled hierarchy, and they all know their jobs. A simple command from the cinematographer, “Flag off that 10k, we’re going wide on the dolly,” may sound like gibberish, but everyone on a film set knows exactly what to do. In fact, there’s a whole cinema-specific vocabulary that film crews use to keep the shoot moving quickly and efficiently. From apple boxes to barn doors to C-stands, the lingo can get downright bizarre. Clothespins are not clothespins; they’re C-47s (and yes, they use a lot of clothespins on a film set), and breakfast isn’t the morning meal; it’s the first meal on set, which could be 6 o’clock in the evening. And if someone is in the bathroom, they’re 10-100 (or 10-200 as the case may be), but they’re definitely not “in the can”, which is what you say when a scene is completed.
But aside from the esoteric lingo on the set, there are a few key terms everyone should know. The first is the shot, the most basic building block of cinematography. As mentioned in Chapter Two, a shot is one continuous capture of a span of action by a motion picture camera. A finished film is made up of a series of these shots of varying lengths, that ultimately tell the story. But during production, each shot may need to be repeated several (or dozens or even hundreds of) times until everyone gets it right. Every time they repeat the shot, it’s called a take. And once the director and cinematographer feel they have the best version of that shot, it’s time to move the camera – and everything associated with it – to a new shot, sometimes just a slightly different angle on the same scene. That’s called a set-up. New set-ups require everyone on the crew to jump into action, rearranging the camera, the lights, the set dressing, etc. That can take time. Lots of time. And it’s one reason assistant directors, responsible for planning how long it will all take, think of the schedule in terms of the number of set-ups a crew can accomplish each day.
Obviously, a film set is a complicated place requiring a complex choreography of dozens, if not hundreds, of personnel all dedicated to rendering the moving picture. But there are many decisions a cinematographer has to make before they even arrive on set. These decisions – film or digital, black and white or color, lighting, lenses, framing, and movement – are all made in collaboration with the director and in service to the narrative and the overall mise-en-scéne. Some of them are incredibly technical, and some are purely aesthetic, but each one of them will affect how we engage in the cinematic experience.
FILM VERSUS DIGITAL
One of the first decisions a cinematographer must make is what medium she intends to use to record the images: a physical film stock or a digital sensor. While this is a highly technical decision, it is also an important aesthetic choice that will affect the overall look of the final image. Not only are there differences in the look of film versus digital recording generally, but there are also subtle distinctions in the various film stocks and manufacturers, as well as the different types of digital sensors that come with different camera systems. Let’s take each one in turn.
Good old-fashioned film stock has been around since the dawn of cinema, though it has evolved quite a bit since those early days. In the beginning, the strips of light-sensitive material were made from nitrate, a highly flammable material, which was not so great when it was whirring through a projector past a hot lamp. It’s one of the reasons many early films are lost to history. They simply burned up too easily. Today, film stock is made from a much sturdier plastic. And on that plastic is a gelatin coating containing thousands of microscopic grains of light-sensitive crystals called silver halide. When light hits those crystals, they darken, depending on the amount of light. (And if it’s a color film, there will be three separate layers of those crystals, one blue, one red, and one green.) A chemical bath enhances that reaction to light, rendering a negative image that can then be projected.
Once a cinematographer commits to this analog, chemical process, there are still a lot of decisions to make. First, they must choose a film gauge, that is, the size of the film stock. The film gauge is determined by measuring from corner to corner the individual frames that will be exposed to light. The standard film gauge in cinema today is 35mm, but sizes range from as small as 8mm all the way up to 70mm. And each size will render a different look, with more or less detail once enlarged. They must also decide how sensitive the film will be to light. Highly sensitive, or “fast” film stock, that is, a film that reacts quickly to relatively low levels of light, contains relatively large silver halide crystals (more surface area to absorb the light). The benefit is the ability to film at night or in other low-light situations. The drawback is a loss in resolution or detail in the image due to an increase in the crystals. Or grain. Less sensitive, or “slower” film stock produces a crisper image (due to the smaller crystals) but requires more light.
There are many other decisions to be made that may affect the final image – the manufacturer, black and white versus color, the developing process – but using the physical medium of film stock renders an image that many filmmakers claim has a more organic look, a difference you can almost feel more than see. And that comes at a price. Film stock must be purchased by the foot, forcing filmmakers to plan every shot carefully to avoid wasting material. (Of course, many filmmakers see this as a good thing). Not to mention the fact that you don’t really know what you have until you develop the film after a day of shooting. Or the fact that you have to assemble your final film by actually cutting and taping together physical strips of film. Or the fact that even if you choose to shoot on analog film stock, most of your audience is going to watch a digitized version in the multiplex or on their television, laptop or smartphone anyway.
For these and many other reasons, the good old-fashioned film has fallen somewhat out of fashion in favor of the flexibility of digital cinematography. Digital cinematography is identical in every way to analog film cinematography – same basic equipment, same need to control exposure, shape light, compose the image, etc. – with one important difference: the light passing through the lens hits a digital image sensor instead of a strip of plastic film. That sensor uses software to analyze and convert the light bouncing off its surface into a series of still images (just like film stock) that are recorded onto flash memory or an external hard drive.
The advantages should be obvious. First and foremost, there are almost no limits on how much you can record, especially as digital data storage becomes cheaper and cheaper. And since the sensor is controlled by software, you can adjust settings such as light sensitivity at the press of a button rather than changing out the film stock.
But there are still lots of decisions to be made. Just as there are various film gauges, digital sensors come in all shapes and sizes, and every camera manufacturer produces their own subtle variations. And while most of us could probably never tell the difference, cinematographers are very particular about the way a Canon sensor renders color differently from a Sony sensor or a RED sensor from an Arri sensor.
And then there’s the issue of resolution. The standard for “high definition” is an image measuring 1,920 pixels by 1,080 pixels, also known as 1080p (the “p” stands for progressive scan since the image is rendered line by line from top to bottom). Pixels are the smallest visible unit in a screen’s ability to produce an image. Think of them as analogous to those tiny silver halide crystals in film stock. 1,920 by 1,080 pixels is a lot of detail, but most digital cinema today is recorded at a much higher resolution of at least 4,096 pixels by 2,160 pixels, or 4K. And even that has become commonplace and somewhat outdated. In fact, you probably have a 4K camera in your pocket right now. It’s on your phone. As the technology improves, we’ll see 6K, 8K, and 10K become standard. All that information packed into every image renders an incredible amount of detail (and also eats up a lot of storage space). Detail most of us, frankly, will not be able to see with the naked eye.
But resolution isn’t the only factor that affects image clarity. Cinematographers can also manipulate the frame rate to render super-sharp imagery. For decades, the standard frame rate for cinema has been 24 frames per second. That produces a familiar, cinematic “look” to the finished film in part because of motion blur, the subtle blurring that occurs between still images passing at 24 fps. But film shot and projected at 48, 96, or even 120 frames per second renders an ultra-sharp image with almost no motion blur as our brains process far more detail between each individual frame. To be fair, this is possible with analog film stock, but it is impractical to shoot that much film stock at that high a rate. Digital cinematography gives filmmakers like Ang Lee (Billy Lynn’s Long Halftime Walk (2016), Gemini Man (2019)) and James Cameron (the Avatar series) the freedom to experiment with these higher frame rates combined with higher resolution sensors to produce images we literally have never seen before.
BLACK & WHITE VERSUS COLOR
Another decision cinematographers must make early in the process, in collaboration with the director, is whether to record the image in black and white or color. For many of you, this may seem more a question of history. Old movies are black and white; modern movies are in color. Once the technology allowed for color cinematography, why would anyone look back? But there are a number of reasons why a filmmaker might choose to film in black and white over color, even today. They may want to evoke a certain period or emulate some of those “old” movies. Or, if the subject matter is relatively bleak, they may want the added thematic element of literally draining the color from the image. Or they may want to take advantage of the heightened reality and sharp contrast that black-and-white cinematography provides. Or maybe they want to foreground the performances. One of the greatest directors in cinema history, Orson Welles, once said black and white was the actor’s friend because every performance is better without the distraction of color.
But I get it. It’s not 1920. You don’t ride a penny-farthing or listen to music on wax cylinders. Why would you watch a movie in black and white?
Maybe this will convince you:
Whatever their reason, cinematographers must take several things into account once they choose between black and white and color. First, if they are shooting black and white on film, they typically have to use a film stock designed for black and white imagery. It is possible to print black and white from a color negative, but it won’t render the light and shadows in quite the same way as a dedicated film stock. And, of course, if they are filming in color, different film stocks from different manufacturers will render colors differently depending on the desired effect. If they are using digital technology and want the final product to be black and white, the color is usually removed after filming in post-production. But they still have to balance lighting and exposure for how the image will render without color. In either case, it’s important to note that black-and-white cinematography requires just as much attention to detail in the filming process as color.
LIGHT AND LIGHTING
Whether shooting film or digital, black and white or color, one of the most powerful tools a cinematographer has to work with is light itself; without light, there is no image, and there can be no cinema. But simply having enough light to expose an image is not enough. A great cinematographer – heck, even a halfway decent one – knows that their job is to shape that light into something uniquely cinematic. To do that, they must have a deep understanding of the basic properties of light. Four properties, to be specific: Source, Quality, Direction, and Color.
The source refers to both the origin and intensity of the light. There are two basic distinctions in terms of origin: natural or artificial. Natural light refers to light from the sun or moon (which is really just the sun bouncing off the moon, but you knew that), and artificial light refers to light generated from any number of different technologies, LED, incandescent, fluorescent, etc. Each source will have its own particular characteristics, exposing a shot in its own particular way. Artificial light allows a cinematographer an incredible amount of freedom to manipulate and shape the light. Scenes shot indoors on a soundstage can be made to look like daytime exteriors with enough artificial light. Scenes shot outdoors at night can also be augmented with artificial lights standing in for moonlight. But natural light can also be manipulated and shaped through filters, flags (large black fabric squares used to block off the sun’s direct light), and diffusers.
Each new scene will require the cinematographer to consider their light source and how they want to shape it. And a big part of that calculation is intensity. How bright is the source, and how is that going to affect exposure? We’ll discuss depth of field later on, but how much light a cinematographer has to work with affects how much (or how little) of the shot can be in focus and how balanced their exposure will be in the final image. Sometimes a cinematographer can get away with just using available light, that is, the light from the pre-existing fixtures in a location (also called practical lights). But more often, they want to control the intensity more precisely, so they use specialized lights to illuminate the scene from outside the frame of the image. The lamps and overhead lights you might see in a film or TV series are actually more props than true lighting sources. They indicate to the viewer where the light is coming from in a given shot – what cinematographers call motivating the light source and direction – but they rarely add anything to the exposure of the scene.
Check out this short clip:
The subject in the scene is lit by several bright artificial lights just off camera. The table lamp in the background is only there to “motivate” the light that illuminates the side of the subject’s face. But it’s really just a psychological trick. If you really think about it, a dim lamp behind and to the right of the subject should not illuminate his face at all, but our brain tells us, “Sure, that makes sense.” That’s because we really want to believe; we don’t want to think about a crew of people standing around bright lights while a camera records it all. We want to be fooled, and the cinematographer knows that.
The second property of light cinematographers have to think about is quality. This doesn’t mean “good” or “bad,” it’s more about how the light “feels” in the shot. The easiest way to think about quality is in terms of hard or soft lighting. Hard lighting is intense and focused, creating harsh, dramatic shadows. Soft lighting is more diffused and even, filling the space with smooth, gradual transitions from light to dark. The difference is actually less about the light on the subject and more about the shadows cast by the subject. Are the shadows clearly defined with a hard edge? You’ve got hard lighting. Are the shadows fuzzy, less clearly defined, or maybe even absent entirely? You’ve got soft lighting. Cinematographers can control the quality of light by adjusting the size of the light source and its distance from the subject. Typically, the smaller the light source and the closer to the subject, the harder the light:
The third important property of light is direction. Where is the light coming from in the scene? Not the source, what makes the light, but what direction is it coming from? Left, right, below, above? Each decision will affect the look and feel of a scene, and practical lights in the set design can help motivate lighting direction. A single overhead lamp in an interrogation room will motivate a hard light from above. Large windows can help motivate a soft, diffused light from one side of the room.
Cinematographers plan their lighting set-up for any given scene by thinking carefully about what direction the light is coming from, starting with the main source of illumination, the key light. The key light is usually the brightest light on the set, used to properly expose the main subject. But just one bright light will feel like a spotlight, creating unwanted shadows. So, they use a fill light, usually less intense and a bit softer than the key light, to fill out those shadows. But those two lights shining on the front of your subject can make the scene feel a bit two-dimensional. To bring some depth to the image, they use a backlight, usually a hard light that shines on the back of a subject’s head (also called a hair light), to create some separation between the subject and the background. The brightness of each of these lights relative to each other is known as the lighting ratio and can be adjusted for various different effects. This lighting setup is known as three-point lighting, and it’s the most basic starting point for lighting a scene:
Of course, three-point lighting is just that, a starting point. Really complex lighting schemes will require far more layers to the set-up. But even then, cinematographers will talk to their gaffers, electrics, and grips in terms of key, fill, and back lights.
The fourth property of light that every cinematographer must understand is color. And no, I don’t mean red, blue, and green light bulbs. I mean the subtle color cast that different light sources give off that will ultimately affect the exposed image. For example, a typical household incandescent light bulb uses a tungsten filament to produce light. That light usually has a warm orange glow to it. But a fluorescent tube light in a ceiling fixture gives off a cooler, bluer light. In fact, we’ve come up with a way to measure these differences using the concept of color temperature. Color temperature is measured in degrees Kelvin. The lower the degree Kelvin, the warmer or more “red” the light. The higher the degree Kelvin, the cooler, the more “blue” the light. The orange glow of a tungsten bulb is around 3200 Kelvin. Daylight is around 5600 Kelvin.
It can get a little confusing, I know. Check out this quick overview of the science behind color temperature and how we use it in cinema:
As should be clear by now, color temperature matters a great deal when a cinematographer wants to set a particular mood. For example, a romantic scene in a candle-lit restaurant should have a warm orange glow. Fortunately, you don’t need to rely on a thousand candles to achieve that effect. Most modern LED (light-emitting diode) lights can be adjusted according to color temperature. All you have to do is dial in 2000K to your key, fill, and backlights, and you get the equivalent of the warm glow of candlelight without the fire hazard.
Source, quality, direction, and color are the four most important properties of light cinematographers must master to create great cinema. Once we understand these same properties, we can start to understand how cinematographers combine them to achieve an effective lighting style in any given scene, film, or series. For example, by lowering or removing the key light and relying more on indirect, relatively hard fill and backlights, you create deep shadows and high contrast in a scene. As mentioned in Chapter Three, this style of lighting is known as low-key lighting (because of the lack of a dominant key light, not because it’s laid back), used to evoke mystery and even terror.
Check out this short video essay on one of the greatest living cinematographers, Roger Deakins, and how he approaches lighting style in his work:
THE LENS
Another powerful tool a cinematographer has to work with is, of course, the camera. And there is a lot that goes into how that particular apparatus works and the nuances between different formats and manufacturers. But I want to focus on the one component that is interchangeable and allows for endless variety: the lens. No matter what camera a cinematographer chooses, it’s the lens that determines the clarity, framing, depth of field, and exposure of the image. Just by changing the lens, without moving the camera at all, you can radically transform the look of a shot.
The principle behind a camera lens is pretty simple. A piece of curved glass (or several pieces depending on the lens), held in place on the front of the camera, focuses light through an adjustable aperture (a fancy word for “hole”) and onto light-sensitive material (film or a digital sensor). The aperture controls the amount of light entering the camera, and the glass “elements” control the sharpness of the image by moving closer or further away in tiny increments from the aperture. The overall distance between the sensor and the point at which the light passes through those glass elements is called the focal length[1] and is measured in millimeters. So, in a 50mm lens, the distance between the sensor of the camera and the point where the light passes through the glass of the lens is 50 millimeters.
The focal length determines both the angle of view and the magnification of the image. The shorter the focal length, the wider the angle of view and the smaller the magnification. The longer the focal length, the narrower the angle of view and the greater the magnification. Any lens below 35mm is generally considered a “wide-angle lens” because of its relatively short focal length. Any lens above 70mm is considered a “telephoto lens” because it greatly magnifies the image.
Lenses can be divided into two basic types based on how they treat focal length: zoom and prime. Zoom lenses allow you to adjust the focal length by sliding the glass elements closer to or further away from the sensor, thus greatly magnifying the image or widening the angle of view without swapping out the lens itself. Prime lenses have a fixed focal length. What you see is what you get. Now I know what you’re thinking. Why not just slap a zoom lens on there and choose your own focal length? But actually, cinematographers almost always use prime lenses when filming. For one thing, zoom lenses tend to have many more glass elements than primes and that can affect the quality of the image. But more importantly, prime lenses force the cinematographer to be more deliberate and intentional about the angle of view and magnification of a particular shot.
Confused yet? Maybe this will help:
Still confused? Here’s an explanation in just 23 seconds:
The angle of view and magnification is important in terms of what’s visible in the frame, but just as important is what appears to be in sharp focus. Lenses also allow cinematographers to control the depth of the image by either isolating a subject as the only element we see clearly in a particular shot or allowing us to see everything in the background and foreground equally. This is called depth of field, the range of distance in front of the camera in which subjects are in sharp focus.
Take a look at this image:
Note how the figure of the man lighting his cigarette is isolated from the background, focusing our attention on the spark from the lighter. This is an example of a narrow depth of field. The range of distance in front of the camera in which subjects are in sharp focus is relatively small, creating less depth in the image.
Now check out this image:
Note that everything seems to be equally in focus, allowing us to pick out all of the details of the set design. This is an example of a wide depth of field or deep focus.
But since cinematography is all about moving pictures, this is not necessarily a binary choice. A cinematographer can change the depth of field within a shot to shift our attention from one subject to another. This is called a rack focus or pull focus:
Now that you know what it is, you’ll see it all the time in film and tv. In fact, there’s usually one person on set whose only job is to manage those shifts in the depth of field within a shot. They’re called, appropriately enough, a focus puller.
FRAMING THE SHOT
Composition, the arrangement of people, objects, and settings within the frame of an image, has already come up a few times in previous chapters. That’s because how a cinematographer composes the image, how they design each shot, is one of the most important elements in cinematic storytelling. How those people, objects, and settings are arranged within the border of the image can bring balance or imbalance, reveal or hide information, indicate power or weakness, all without a word of dialog, an edit, or even a character on the screen.
But before a cinematographer can start to think about how to properly compose a shot, they have one more decision to make: the shape of their frame. Okay, every frame (for now) is some variation on a rectangle. But the proportions of that rectangle will dictate how people, objects, and settings are arranged within it. This is known as the aspect ratio, the width of the frame relative to its height. The current standard for motion pictures is 16:9, or 1.78:1, a rectangle that is almost twice as wide as it is tall. But in the early days of cinema, the standard was much closer to a square, 4:3, sometimes called the academy ratio. And sometimes filmmakers opt for a much wider frame, as wide as 2.35:1. That aspect ratio is a particular favorite of Quentin Tarantino. Whatever aspect ratio a filmmaker chooses will affect the choices they make regarding composition. Check out this quick comparison:
Once a filmmaker has chosen their aspect ratio, the most basic starting point for composition, one we all intuitively understand from our own experience snapping photos with our phones, is balance. Images that are well-balanced use the space within the frame to evenly distribute visual interest, creating a proportional, pleasing composition. (Unless that’s not what you’re going for, but we’ll get to that). One way to achieve that balance is the rule of thirds. The idea is to divide the frame into thirds horizontally and vertically and line up areas of visual interest at the intersection of those points. Here’s an example:
By arranging the actors along the intersection of the grid lines, the composition feels well-balanced and proportional. It has the added benefit of helping to tell the story, where the two characters share the screen as equals.
Now take a look at another image from the same film:
In this composition, the subjects are still evenly distributed within the frame, but the relative size difference between the characters indicates an unequal power dynamic. Again, helping to tell the story.
The rule of thirds is all about balance and proportion in the composition, to bring a sense of symmetry to the image. Some filmmakers take this notion of symmetry in composition to the extreme. Check out this supercut of Wes Anderson’s apparent obsession with symmetry in his films:
This consistent use of balanced composition is one of the elements that makes a Wes Anderson film a Wes Anderson film. That pattern in his framing is part of his signature mise-en-scéne.
But just like three-point lighting, the rule of thirds is really just a starting point for understanding how composition can be used to help tell a cinematic story. Framing the shot is really about directing our attention, showing us where to look in the shot or scene, and ultimately, how to feel about it. There are lots of ways to do this.
Take a look at how Nicholas Winding Refn uses another way to divide up the frame, a quadrant approach, to direct our attention in a given shot or sequence:
Or how Japanese master filmmaker Akira Kurosawa combines framing and movement to constantly redefine relationships and motivations using simple geometry:
Sometimes a filmmaker will direct our attention by framing the subject within another frame in the composition. Check out how Wong Kar-Wai uses this technique in the stunning romance In the Mood for Love (2000):
All of these examples demonstrate how filmmakers use framing to direct our attention and help tell the story. As discussed in Chapter Two, these techniques contribute to our shared cinematic language as filmmakers and viewers. Some of the more obvious ways filmmakers employ framing as a form of communication is by using imagery we already intuitively understand from our everyday lives. Take, for example, the apparent proximity of the subject to the camera. As discussed in Chapter Two, a close-up creates a sense of intimacy with the subject, just like it would in real life if we stood within inches of another person (hopefully with their permission, because if not, that’s just creepy). If the subject appears far away, as in an extreme long shot, that communicates a sense of disconnection or emotional distance from the subject. In fact, directors and cinematographers have a convenient shorthand for how close or far away the subject should appear, a code for where to place the camera (or what focal length to use). A close-up and extreme long shot is obvious enough. But there is also the extreme close-up, medium close-up, medium shot, medium long, long, etc. Each term means something specific in terms of composition. A medium-long shot, for example, will typically compose a character from the knees up. A medium shot will be from the waist up. Having a specific term for a specific composition saves time (and money) on the set during production.
Another way filmmakers can communicate through composition using imagery we already intuitively understand is by adjusting the angle of view. If a cinematographer frames the shot below the eyeline of a character – so we are literally looking up to them – that character will feel dominant and powerful. Frame the subject in profile, and the character will feel a bit more mysterious, leaving us wanting to know more about them.
A filmmaker can also “break” the rules of balance and proportion for a desired effect. For example, if a cinematographer intentionally creates an asymmetrical, unbalanced image, it will likewise make the viewer feel uneasy and off balance. Or they can compose the image so the main subject is isolated and small relative to the rest of the frame, creating what is known as negative space. This can help communicate a character’s isolation or powerlessness in a scene.
Want more examples? Check out this video essay on how filmmakers use composition to tell a cinematic story:
MOVING THE CAMERA
Much of the above discussion about composition is as true for still photography and painting as it is for cinematography. But what makes cinema special is, of course, movement, both in terms of how subjects move within the frame – also known as blocking – and how the frame itself moves through a scene. While the blocking of actors in a scene is important, I want to focus on how a cinematographer can move their camera within a single shot to reframe an image and potentially change the meaning of the scene.
There are many different ways a camera can move. Let’s take a look at some of the simplest, starting with pans and tilts. A tilt is simply moving the camera up or down from a fixed point, usually a tripod. A pan is simply rotating the camera from side to side, also from a fixed point. Here’s an example of a pan:
The effect is the same as if you simply turned your head from left to right, keeping your eyes straight ahead. But by moving the frame, the cinematographer is able to radically reorient our point of view while also creating a sense of anticipation as to what will be revealed.
But if you want the camera to actually move through the space, not simply move left to right or up and down, there are a few options. You could just pick it up and move it. That’s called, appropriately enough, a handheld shot. But if you want that movement to be more subtle, or at least a lot smoother, you’ll want more precise control over how the camera moves. One way to achieve that is to put it on wheels. Sometimes, those wheels are stuck on a track that grips have laid down for a particular shot, and sometimes, they’re just well-oiled wheels that will go wherever the grip pushes them. Either way, this is called a dolly shot. Dolly shots come in all sorts of flavors. You can dolly in or dolly out, that is, move toward or away from a stationary subject. Here’s an example of a dolly out combined with a tilt:
you can set up a tracking shot that tracks along with a subject in motion (and may or may not be on actual tracks). Here’s a simple tracking shot of two kids on their bicycles:
In this case, the camera was mounted on the back of a van, tracking in front of the subjects and leading them forward. Notice too, how towards the end of the shot, the camera shifts subtly to reframe the image of just the girl, indicating a subtle shift in emphasis in the story.
You can also put the camera on a crane to achieve a really dramatic shift in the point of view, like this crane shot from High Noon (1952, Fred Zinneman, dir.):
Notice how effective this shift in perspective is in making the character seem isolated, small, and powerless without even knowing the context or the rest of the story (it’s an amazing film, and you should go watch it right now).
If you want the freedom of physically carrying the camera around through a scene but still want the smooth motion of a dolly, you can use a special rig called a Steadicam. Steadicam is actually a brand name for a camera stabilizer that has become a somewhat generic term (like Kleenex or Xerox… does anyone still say Xerox?). The camera is strapped to the camera operator using a system of counterweights, gimbals, and gyroscopes (it feels like I’m making those words up, but I’m not):
The result is incredibly smooth motion regardless of terrain.
Here’s one of the most famous Steadicam shots in cinema history from Martin Scorsese’s Goodfellas (1990):
Try following those two actors through all of that with a camera on wheels!
Pans, tilts, dollies, cranes, and steadicams, regardless of how a filmmaker moves the camera, one question they must always answer first is: Why move the camera at all? That is, is the movement motivated? In the case of Scorsese’s Steadicam shot above, we’re following the main characters into a nightclub. Motivation enough to move with them. Or that crane shot from High Noon; the move reveals something important about the character. Again, solid motivation. But what happens when a camera move is unmotivated? If the camera moves simply because the filmmaker thinks it “looks cool”? (I’m looking at you, Michael Bay). Most often, an unmotivated camera move that isn’t serving the story reminds the viewer they are watching a movie. The move becomes visible instead of invisible, and usually, that’s the last thing a filmmaker wants. All of this is supposed to be invisible, remember?
But sometimes, a filmmaker intentionally moves the camera without clear motivation to achieve a certain effect. For example, a tracking shot can move laterally through a scene with or without subjects in motion. Since there is no reason to move the camera, the movement can feel unmotivated and, therefore, more noticeable to the viewer. So why do it? Here’s a deep dive into how effective a lateral tracking shot can be:
Maybe the best example of a really effective but completely unmotivated camera movement is one of filmmaker Spike Lee’s signature camera moves: The Spike Lee Dolly. At least once in every film, Spike Lee will put one or more characters on the same dolly as the camera and move them both through the scene. It’s disorienting and a little bizarre, but it creates a fascinating image that can draw the viewer into the psychology of the character:
Well-planned and thoughtful camera movement, usually the motivated kind, can not only help tell the story, but it can also radically transform our relationship to the story. It doesn’t always have to be flashy. It could just be a subtle shift in perspective. A slight pan or a minute push in on a dolly. But it can change everything:
THE LONG TAKE
The last point I’d like to make regarding cinematography is how really great cinematographers can combine all of the above into one continuous bravura shot that manages to move the story forward without a single edit. Don’t get me wrong, editing is important, and we’ll get to that next. But sometimes, a filmmaker finds a way to move through a scene, choreographing the actors and the camera department in such a way that the story unfolds in one long, continuous take. And it can be breathtaking.
In fact, the shot above from Goodfellas is a pretty good example. Notice how Scorsese moves the camera through several different settings without ever needing to cut away from the shot. But the most famous long take is probably Orson Welles’s opening shot from Touch of Evil (1958). Seriously, check this out:
Imagine the planning required to choreograph that sequence. Everything had to work like clockwork (pun intended). And yet, nothing was sacrificed in terms of cinematic storytelling. Welles is able to move in and out of close-ups, medium shots and long shots, overhead crane shots and smooth tracking shots, directing our attention, revealing information and creating suspense. All without a single cut.
Now check out how filmmakers like Sam Mendes are still imitating that iconic shot in films like Spectre (2015):
Sometimes these long takes are much less noticeable. Take a look at how a filmmaker like Steven Spielberg, not necessarily known for bravura camera moves, still finds ways to use the occasional long take to serve the story:
Video and Image Attributions:
The Filmmaker’s View: Rachel Morrison – DP is the best job on set, we all know that by ARRIChannel. Standard YouTube License.
So You Don’t Want to Watch a Black & White Movie? by RocketJump Film School. Standard YouTube License.
Motivated Practical Lighting by Amin Suwedi. Standard YouTube License.
Lighting 101: Quality of Light by RocketJump Film School. Standard YouTube License.
Frameforest Filmschool: 3 point lighting by frameforest. Standard YouTube License.
The History and Science of Color Temperature by Filmmaker IQ. Standard YouTube License.
Roger Deakins: Making Beautiful Images by James Hayes. Standard YouTube License.
Cinematographer Explains 3 Different Camera Lenses by Vanity Fair. Standard YouTube License.
Understanding Focal Length by Canon New Zealand. Standard YouTube License.
The Art of the Focus Pull by Fandor. Standard YouTube License.
Wes Anderson // Centered by kogonada. Standard Vimeo License.
Drive (2011) – The Quadrant System by Every Frame a Painting. Standard YouTube License.
The Bad Sleep Well (1960) – The Geometry of a Scene. by Every Frame a Painting. Standard YouTube License.
In The Mood For Love: Frames Within Frames by Nerdwriter1. Standard YouTube License.
Composition In Storytelling | CRISWELL | Cinema Cartography by Criswell. Standard YouTube License.
ANIMAL Clip – Pan by Russell Sharman. Standard YouTube License.
ANIMAL Clip – Dolly Out by Russell Sharman. Standard YouTube License.
ANIMAL Clip – Tracking by Russell Sharman. Standard YouTube License.
High Noon Crane Shot by C.P. Crouch. Standard YouTube License.
Steadicam and operator in front of crowd. Public domain image.
Goodfellas – Steadicam Shot by 805Bruin. Standard YouTube License.
Wolf Children (2012) – The Lateral Tracking Shot by Every Frame a Painting. Standard YouTube License.
Spike Lee – The Dolly Shot by Richard Cruz. Standard YouTube License.
5 Brilliant Moments of Camera Movement by CineFix. Standard YouTube License.
Touch of Evil (1958) — The Opening Sequence (Welles’ original) by Fix Me A Scene. Standard YouTube License.
Spectre- Opening Tracking Shot in 1080p by Movie Maker. Standard YouTube License.
The Spielberg Oner by Every Frame a Painting. Standard YouTube License.
- Okay, so it’s a little more complicated than that. Technically, focal length is measured from the point where the light converges in the middle of the glass elements, known as the optical center, before it is refracted back out toward the aperture and sensor. Feel better? ↵
Explorative Assignment: Pastiche Kill Bill Vol. 1, First Love, or Samurai Champloo
For our section on Cinematography, we will focus on either Tarantino's Kill Bill Vol. 1 or Takashi Miike's First Love. Both directors are known for their unique cinematic style, and with both directors, it is usually clear within minutes that we are watching one of their films.
Purpose:
Quentin Tarantino's films are marked by the deliberate use of pastiche, a technique that melds elements from a variety of traditions and genres. This narrative strategy diverges from linear, historically accurate storytelling, favoring instead a self-referential style that emphasizes the constructed nature of film narratives.
The team over at Icon Collective have this to say:
Tarantino is a part of an artistic movement known as “postmodernism” which is founded on the idea that nothing is new in art. That everything is recycled. A standard example of postmodern philosophy is sampling in hip hop. Taking pieces of other songs and reconfiguring them into something new. Do you think producers who sample have an original style?
In employing pastiche, Tarantino crafts films that are not merely collections of references but films engaged with the medium of cinema. This approach serves both as an homage to and a critique of film history, challenging audiences to recognize the fluid boundary between fiction and reality.
For example:
Indiewire talks about Tarantino's use of extreme closeups in Kill Bill:
“Kill Bill,” The Eyes
“Kill Bill” is notable for being the first collaboration between Tarantino and Robert Richardson, who would go on to shoot all of the director’s next projects (save for “Death Proof”). By that point in his career, Richardson was already a favorite of Martin Scorsese’s (“Casino” and “Bringing Out the Dead”) and Oliver Stone (“Platoon,” “Natural Born Killers,” and more). Tarantino and Richardson used the Western genre and its love of eyeline closeups as a visual touchstone throughout the two-part samurai film.
Another example would be when:
IndieWire also speaks about the action choreography:
“Kill Bill,” Blue Silhouette Fight
The famous blue silhouette fight between The Bride and members of the Crazy 88 yakuza is a visual ode to the opening of Nakano Hiroyuki’s “Samurai Fiction.” Tarantino films the Crazy 88 fight in blue, while Hiroyuki opted for red.
In comparison:
Takashi Miike's approach is a bit more intuitive. This is what Miike has to say about the way he is influenced on a subconscious level in an interview with Roger Ebert (published on his website) discussing the film we are covering in this course, First Love:
My influences happen at more of a subconscious level, I don’t dig too deep into that or analyze it myself. I may say, “That scene in that movie would be perfect for this thing.” I’ll talk to my staff and say, “Oh you have to check out this film, it had this one scene that was really great!” In that sense I’m very straight forward about what my influences are. But more than being influenced by film in a tangible way that filters into my own work, I’m more influenced by things that happen in my daily life. The sunglasses that you’re wearing, somehow those sunglasses lodge in my subconscious and end up influencing me and they’ll end up in my next film and I won’t remember where they came from.
For this recreating a scene, we are looking at style rather than a specific scene. We should use the idea of postmodern pastiche to demonstrate a critical understanding of the cinematography we are emulating, noting the specific style, choices, and tone of the director and cinematographer they have chosen to analyze.
Criteria:
Option One: Quentin Tarantino's Kill Bill Vol. 1
- Recreate a scene or sequence that embodies Tarantino's use of visual homage, creative framing, vibrant color palettes, and dynamic editing. Consider how music plays a role in enhancing the narrative and emotional weight of the scene.
Option Two: Takashi Miike's First Love
- Craft a scene or sequence that reflects Miike's intuitive filmmaking style, highlighting the influence of everyday observations and subconscious inspirations. Focus on how these elements are integrated into the film's narrative and visual composition.
Turn-in Methods for Scene Creation:
- Script: Write a script that captures the dialogue, action, and detailed camera work, emphasizing the stylistic choices of your chosen director.
- Storyboard: Develop a storyboard that illustrates the scene's composition, including shot types, angles, and transitions.
- Shot List and Schedule: Compile a shot list and production schedule that outlines the logistical aspects of recreating your chosen scene.
- Animatic: Create an animatic that presents a preliminary visual representation of the scene, showcasing the flow and pacing.
- Footage: Produce raw footage that closely replicates the style of the chosen scene, focusing on cinematography and performance techniques.
Required Pastiche Analysis:
Independently of the scene creation, each student must submit a 200-300 word analysis exploring the use of pastiche in their selected director's film. This analysis should address:
- Definition and Application: Explain the concept of pastiche and how your chosen director employs it in their cinematic style.
- Influence and Homage: Discuss the various genres, traditions, and previous works of cinema that influence the director's approach, including how these elements are reconfigured to create something new.
- Critical Impact: Analyze how pastiche serves as both an homage to and a critique of film history and its effect on the audience's understanding of the boundary between fiction and reality.
Option Three:
Purpose: Work as a team on your group project to use the aforementioned sites from the excursions in this module to create your final project. You may work to complete any of the following portions of the final assignment:
Turn-in Methods:
- Storyboard: A storyboard that visually maps out each shot, tailored to the locations available.
- Shot List and Schedule: This comprehensive shot list and schedule organize shoots, equipment, and actor availability.
- Footage: Raw footage of the recreated scenes, demonstrating the application of cinematography techniques.
Please note that each of these items needs to be completed.
Task:
Complete the aforementioned journal following one of the prompts (noting that it is not imperative that you answer every question unless it is related and relevant to your overall point).
You may submit your response in either a written, oral, or video format uploaded into the Google Classroom.
Week Two, Module Two - Editing and Animation
They say a film is made three times. The first is by the screenwriter. The second was by the director and crew. The third is done by the editor in post-production.
I don’t know who “they” are, but I think they’re onto something.
When the screenwriter hands the script off to the director, it is no longer a literary document; it’s a blueprint for a much larger, more complex creation. A production process is essentially an act of translation, taking all of those words on the page and turning them into shots, scenes, and sequences. At the end of that process, the director hands off a mountain of film and/or data, hours of images, to the editor for them to sift through, select, arrange, and assemble into a coherent story. That, too, is essentially an act of translation.
The amount of film or data can vary. During the Golden Age of Hollywood last century, most feature films shot about 10 times more film than they needed, otherwise known as a shooting ratio of 10:1. That includes all of the re-takes, spoiled shots, multiple angles on the same scene, subtle variations in performance for each shot, and even whole scenes that will never end up in the finished film. And the editors had to look at all of it, sorting through 10 hours of footage[1] for every hour of film in the final cut.
They didn’t know it then, but they were lucky.
With the rise of digital cinema, that ratio has exploded. Today, it is relatively common for a film to have 50 or 100 times more footage than will appear in the final cut. The filmmakers behind Deadpool (2016), for example, shot 555 hours of raw footage for a final film of just 108 minutes. That’s a shooting ratio of 308:1. It would take 40 hours a week for 14 weeks just to watch all of the raw footage, much less select and arrange it all into an edited film![2]
So, one of the primary roles of the editor is to simply manage this tidal wave of moving images in post-production. But they do much more than that. And their work is rarely limited to just post-production. Many editors are involved in pre-production, helping to plan the shots with the end product in mind, and many more are on set during production to ensure the director and crew are getting all of the footage they need to knit the story together visually.
But, of course, it’s in the editing room, after all the cameras have stopped rolling, that editors begin their true work. And yes, that work involves selecting what shots to use and how to use them, but more importantly, editing is where the grammar and syntax of cinematic language really come together. Just as linguistic meaning is built up from a set sequence of words, phrases, and sentences, cinematic meaning is built up from a sequence of shots and scenes. A word (or a shot) in isolation may have a certain semantic content, but it is the juxtaposition of that word (or shot) in a sentence (or scene) that gives it its full power to communicate. As such, editing is fundamental to how cinema communicates with an audience. And just as it is with any other language, much of its power comes from the fact that we rarely notice how it works; the mechanism is second nature, intuitive, and invisible.
But before we get to the nuts of bolts of how editors put together cinema, let’s look at how the art of editing has evolved over the past century. To do that, we have to go back to the beginning. And we have to go to Russia.
SOVIET MONTAGE AND THE KULESHOV EFFECT
As you may recall, the earliest motion pictures were often single-take actualités, unedited views of a man sneezing, workers leaving a factory, or a train pulling into a station. It took a few years before filmmakers understood the storytelling power of the medium before they realized there was such a thing as cinematic language. Filmmakers like Georges Melies seemed to catch on quickly, not only using mise-en-scène and in-camera special effects but also employing the edit, the joining together of discrete shots in a sequence to tell a story. However, it was the Russians, in this early period, that focused specifically on editing as the essence of cinema. And one Russian in particular, Lev Kuleshov.
Lev Kuleshov was an art school dropout living in Moscow when he directed his first film in 1917. He was only 18 years old. By the time he was 20, he had helped found one of the first film schools in the world in Moscow. He was keenly interested in film theory, more specifically, film editing and how it worked on an audience. He had a hunch that the power of cinema was not found in any one shot but in the juxtaposition of shots. So, he performed an experiment. He cut together a short film and showed it to audiences in 1918. Here’s the film:
After viewing the film, the audience raved about the actor and his performance (he was a very famous actor in Russia at the time). They praised the subtly with which he expressed his aching hunger upon viewing the soup, the mournful sadness upon seeing the child in a coffin, and the longing desire upon seeing the scantily clad woman. The only problem? It was the exact same shot of the actor every time! The audience was projecting their own emotion and meaning onto the actor’s expression because of the juxtaposition of the other images. This phenomenon – how we derive more meaning from the juxtaposition of two shots than from any single shot in isolation – became known as The Kuleshov Effect.
Other Russian filmmakers took up this fascination with how editing works on an audience, both emotionally and psychologically, and developed an approach to filmmaking known as the Soviet Montage Movement. Montage is simply the French term for “assembly” or “editing” (even the Russians had to borrow words from the French!), but Russian filmmakers of the 1920s were pushing the boundaries of what was possible, testing the limits of the Kuleshov Effect. And in the process, they were accelerating the evolution of cinematic language, bringing a sophisticated complexity to how cinema communicates meaning.
The most famous of these early proponents of the Soviet Montage Movement was Sergei Eisenstein. Once a student of Kuleshov’s (though actually a year older), Eisenstein would become one of the most prolific members of the movement. Perhaps his most well-known film, Battleship Potemkin (1925), contains a sequence that has become one of the most famous examples of Soviet montage and, frankly, one of the most famous sequences in the cinema period. It’s known as The Odessa Steps Sequence. You may remember it from Chapter One. Let’s take another look:
One thing you might notice about that sequence is that it doesn’t make a whole lot of sense, at least in terms of a logical narrative. However, Eisenstein was more interested in creating an emotional effect. And he does it by juxtaposing images of violence with images of innocence, repeating images and shots, lingering on some images, and flashing on others. He wants you to feel the terror of those peasants being massacred by the troops, even if you don’t completely understand the geography or linear sequence of events. That’s the power of the montage as Eisenstein used it: A collage of moving images designed to create an emotional effect rather than a logical narrative sequence.
EDITING SPACE AND TIME
In the hundred or so years since Kuleshov and Eisenstein, we’ve learned a lot about how editing works, both as filmmakers and as audience members. In fact, we know it so well we hardly have to give it much thought. We’ve fully accepted the idea that cinema uses editing to not only manipulate our emotions through techniques like the Kuleshov Effect but also to manipulate space and time itself. When a film or TV episode cuts from one location to another, we rarely wonder whether the characters on screen teleported or otherwise broke the laws of physics (unless, of course, it’s a film about wizards). We intuitively understand that edits allow the camera – and, by implication, the viewer – to jump across space and across time to keep the story moving at a steady clip.
The most obvious example of this is the ellipsis, an edit that slices out time or events we don’t need to see to follow the story. Imagine a scene where a car pulls up in front of a house and then cuts to a woman at the door ringing the doorbell. We don’t need to spend the screen time watching her shut off the car, climb out, shut and lock the door, and walk all the way up to the house. The cut is an ellipsis, and none of us will wonder if she somehow teleported from her car to the front door (unless, again, she’s a wizard). And if you think about it for a moment, you’ll realize ellipses are crucial to telling a story cinematically. If we had to show every moment in every character’s experience, films would take years or even decades to make, much less watch!
Other ways cinema manipulates time include sequences like flashbacks and flashforwards. Filmmakers use these when they want to show events from a character’s past or foreshadow what’s coming in the future. They’re also a great indicator of how far cinematic language has evolved over time. Back in the Golden Age of Hollywood, when editors were first experimenting with techniques like flashbacks, they needed ways to signal to the audience, “Hey, we’re about to go back in time!” They would employ music – usually harp music (I’m not sure why, but it was a thing) – and visual cues like blurred focus or warped images to indicate a flashback. As audiences became more fluent in this new addition to cinematic language, they didn’t need the visual cues anymore. Today, movies often move backward and forward in time, trusting the audience to “read” the scene in its proper context without any prompts. Think of films like Quentin Tarantino’s Pulp Fiction (1994), which plays with time throughout, rearranging the sequence of events in the plot for dramatic effect and forcing the viewer to keep up. Or a more recent film like Greta Gerwig’s adaptation of Little Women (2019), which also moves backward and forwards in time, hinting at the shift through mise-en-scène and subtle changes in performance.
Another more subtle way editing manipulates time is in the overall rhythm of the cinematic experience. And no, I don’t mean the music, though, that can help. I mean the pace of the finished film, how the edits speed up or slow down to serve the story, producing a rhythm to the edit.
Take the work of Kelly Reichardt, for example. As both director and editor on almost all of her films, she creates a specific rhythm that echoes the time and space of her characters:
Sometimes, an editor lets each shot play out, giving plenty of space between the cuts, creating a slow, even rhythm to a scene. Or they might cut from image to image quickly, letting each flash across the screen for mere moments, creating a fast-paced, edge-of-your-seat rhythm. In either case, the editor has to consider how long do we need to see each shot. In fact, there’s a scientific term for how long it takes us to register visual information: the content curve. A relatively simple shot of a child’s smile might have a very short content curve. A more complex shot with multiple planes of view and maybe even text to read would have a much longer content curve. Editing is all about balancing the content curve with the needs of the story and the intent of the director for the overall rhythm of each scene and the finished film as a whole.
This is why editing is much more than simply assembling the shots. It is an art that requires an intuitive sense of how a scene, sequence, and finished film should move and how it should feel. Most editors describe their process as both technical and intuitive, requiring thinking and feeling:
CONTINUITY EDITING
Maybe it’s obvious, but if editing is where the grammar and syntax of cinematic language come together, then the whole point is to make whatever we see on screen make as much sense as possible. Just like a writer wants to draw the reader into the story, not remind them they’re reading a book, an editor’s job, first and foremost, is to draw the viewer into the cinematic experience, not remind them they’re watching a movie. (Unless that’s exactly what the filmmaker wants to do, but more on that later.) The last thing most editors want to do is draw attention to the editing itself. We call this approach to editing continuity editing, or more to the point, invisible editing.
Continually editing aims to create a continuous flow of images and sound, a linear, logical progression, shot to shot and scene to scene, constantly orienting the viewer in space and time and carrying them through the narrative. All without ever making any of that obvious or obtrusive. It involves a number of different techniques, from cutting-on-action to match cuts and transitions and from maintaining screen direction to the master shot and coverage technique and the 180-degree rule. Let’s take a look at these and other tricks editors use to hide their handiwork.
Cutting on Action
The first problem an editor faces is how and when to cut from one shot to the next without disorienting the viewer or breaking continuity, that is, the continuous flow of the narrative. Back in Chapter Two, I discussed one of the most common techniques is to “hide” the cut in the middle of some on-screen action. Called, appropriately enough, cutting-on-action, the trick is to end one shot in the middle of an action – a character sitting down in a chair or climbing into a car – and start the next in the middle of the same action. Our eyes are drawn to the action on screen and not the cut itself. The edit disappears as we track the movement of the character. Here’s a quick example:
The two shots are radically different in terms of the geography of the scene – one outside of the truck, the other inside – but by cutting on the action of the character entering the truck, it feels like one continuous moment. Of course, we notice the cut, but it does not distract us from the scene or call attention to itself.
And now that you know what to look for, you’ll see this technique used in just about every film or tv show, over and over, all the time.
Match Cuts
Cutting-on-action is arguably the most common continuity editing trick, but there are plenty of other cuts that use the technique of matching some visual element between two contiguous shots, also known as a match cut. There are eyeline match cuts that cut from a shot of a character looking off camera to a shot of whatever it is they are looking at, graphic match cuts that cut between two images that look similar (the barrel of a gun to James Bond in an underground tunnel, for example), and even subject match cuts that cut between two similar ideas or concepts (a flame from a matchstick to the sun rising over the desert in David Lean’s Lawrence of Arabia (1962)).
Almost all of these examples rely on a hard cut from one shot to the next, but sometimes an editor simply can’t hide the edit with some matching action, image or idea. Instead, they have to transition the viewer from one shot to the next, or one scene to the next, in the most organic, unobtrusive way possible. We call these, well, transitions. As discussed in Chapter Two, you can think of these as conjunctions in grammar, words meant to connect ideas seamlessly. The more obvious examples, like fade-ins and fade-outs or long dissolves, are drawn from our own experience. A slow fade-out, where the screen drifts into blackness, reflects our experience of falling asleep and drifting out of consciousness. And dissolves, where one shot blends into the next, reflecting how one moment bleeds into and overlaps with another in our memory. But some transitions, like wipes and iris outs, are peculiar to motion pictures and have no relation to how we normally see the world. Sure, they might “call attention to themselves,” but somehow, they still do the trick, moving the viewer from one shot or scene to the next without distracting from the story itself.
Wondering what some of these match cuts and transitions look like? Check out several examples of each (along with some not-so-invisible edits like jump cuts) here:
Screen Direction
Maintaining consistent screen direction is another technique editors use to keep us focused on the story and keep their work invisible. Take a look at this scene from Casablanca:
We are entering the main setting for the film, a crowded, somewhat chaotic tavern in Morocco. Notice how the camera moves consistently from right to left and that the blocking of the actors (that is, how they move in the frame) is also predominantly from right to left until we settle on the piano player, Sam. The flow of images introduces the tavern as if the viewer were entering as a patron for the first time. This consistent screen direction helps establish the geography of the scene, orienting the viewer to the physical space. An editor concerned about continuity never wants the audience to ask, “Where are we?” or “What’s going on?” And obviously, this isn’t something an editor can do after the fact all by themselves. It requires a plan from the beginning, with the director, the cinematographer, the production designer, and the editor all working together to ensure they have the moving images they need to execute the scene.
Some filmmakers can take this commitment to consistent screen direction to the extreme to serve the narrative and emphasize a theme. Check out this analysis of Bong Joon-ho’s Snowpiercer (2013):
Master Shot and Coverage
Consistent screen direction is an important part of how continuity editing ensures the audience is always aware of where everyone is located in relation to the setting and each other. Another common technique to achieve the same goal is to approach each scene with a master shot and coverage.
The idea is fairly simple. On set during production, the filmmaker films a scene from one, wide master shot that includes all of the actors and action in one frame from start to finish. Then, they film coverage, that is, they “cover” that same scene from multiple angles, isolating characters, moving in closer, and almost always filming the entire scene again from start to finish with each new set-up. When they’re done, they have filmed the entire scene many, many times from many different perspectives.
And that’s where the editor comes in.
It’s the editor’s job to build the scene from that raw material, usually starting with the master shot to establish the geography of the scene, then cutting to the coverage as the scene plays out, using the best takes and angles to express the thematic intent. They can stay on each character for their lines of dialogue or cut to another character for a reaction. They can also cut back to the master shot whenever they choose to re-establish the geography or re-set the tone of the scene. But maybe most importantly, by having so many options, the editor can cut around poor performances or condense the scene by dropping lines of dialogue between edits. Done well, the viewer is drawn into the interaction of the characters, never stopping to ask where they are or who is talking to whom, and hopefully never even noticing a cut.
Let’s take a look at a scene from Damien Chazelle’s Whiplash (2014), shot and edited in the classic master shot and coverage technique:
The scene opens with a master shot. We see both characters, Andrew and Nicole, in the same frame, sitting at a table in a café. The next shot is from the coverage, over Nicole’s shoulder, on Andrew as he reacts to her first line of dialogue. Then on, Nicole, over Andrew’s shoulder as she reacts to his line. The editor, Tom Cross, moves back and forth between these two shots until Andrew asks a question tied to the film’s main theme, “What do you do?” Then he switches to close-up coverage of the two characters. Tension builds until there is a subtle clash between them, a moment of conflict. And what does the editor do? He cuts back to the master shot, resetting the scene emotionally and reorienting the viewer to the space. The two characters begin to reconnect, and the editor returns to the coverage, again shifting to close-ups until the two find a point of connection (symbolized by an insert shot of their shoes gently touching). The rhythm of this scene is built from the raw materials, the master shot and the coverage, that the editor has to work with. But more than just presenting the scene as written, the editor has the power to emphasize the storytelling by when to cut and what shots to use.
The master shot and coverage technique gives the editor an incredible amount of freedom to shape a scene, but there is one thing they can’t do. A rule they must follow. And I don’t mean one of those artistic rules that are meant to be broken. Break this rule, and it will break the continuity of any scene. It’s called the 180 degree rule and it’s related to the master shot and coverage technique.
Basically, the 180-degree rule defines an axis of action, an imaginary line that runs through the characters in a scene that the camera cannot cross:
Once the master shot establishes which side of the action the camera will capture, the coverage must stay on that side throughout the scene. The camera can rotate 180 degrees around its subject, but if it crosses that imaginary line and inches past 180 degrees, the subjects in the frame will reverse positions and will no longer be looking at each other from shot to shot. Take a look at that scene from Whiplash again. Notice how the master shot establishes the camera on Andrew’s left and Nicole’s right. Every subsequent angle of coverage stays on that side of the table, Andrew always looking right to the left, and Nicole always looking left to the right. If the camera were to jump the line, Andrew would appear to be looking in the opposite direction, confusing the viewer and breaking continuity.
Now, I know I just wrote that this is not one of those artistic rules that was meant to be broken. But the fact is, editors can break the rule if they actually want to disorient the viewer, to put them into the psychology of a character or scene. Or if they need to jump the line to keep the narrative going, they can use a new master shot to reorient the axis of action.
Parallel Editing
All of these techniques, cutting-on-action, match cuts, transitions, consistent screen direction, and the master shot and coverage technique, are all ways that editors can keep their craft invisible and maintain continuity. But what does an editor do when there is more than one narrative playing out at the same time? How do you show both and maintain continuity? One solution is to use cross-cutting, cutting back and forth between two or more narratives, also known as parallel editing.
Parallel editing has actually been around for quite some time. Perhaps one of the most famous early examples is from D. W. Griffith’s Way Down East (1920). Kuleshov had already demonstrated the power of juxtaposing shots to create an emotional effect. But Griffith, among others, showed that you could also create a sense of thrilling anxiety by juxtaposing two or more lines of action, cross-cutting from one to another in a rhythmic pattern. In a climactic scene from the film, a man races to save a woman adrift on a frozen river and heading straight for a dangerous waterfall. To establish these lines of action and to increase our own sense of dread and anxiety, the editor cuts from the man to the woman to the waterfall in a regular, rhythmic pattern, cross-cutting between them to constantly remind the audience of the impending doom as we cheer on our hero until the lines of action finally converge. Here’s the scene:
By cross-cutting in a regular pattern – man, woman, man, waterfall, woman, man, woman, waterfall – the audience is not only drawn into the action, they are also no longer paying attention to the editing itself, thus maintaining continuity.
This technique has become so common, so integral to our shared cinematic language, that editors can use our fluency against us, subverting expectations by playing with the form. Check out this (rather disturbing) clip from Jonathan Demme’s The Silence of the Lambs (1991):
The scene uses the same parallel editing technique as Way Down East, using cross-cutting to increase our anxiety as two lines of action converge. But in this case, the editor subverts our expectations by revealing there were actually three lines of action, not two. However, the trick only works if parallel action is already part of our cinematic language.
What is animation?
Animation is the illusion of movement created by a series of sequential images that are displayed at a rapid rate. We are familiar with animation in film or television, yet we know that animation can be created in other devices, such as flipbooks and optical toys like the zoetrope. In film animation, frame rate refers to how many frames are projected per second. Frame rate is key to animation; if the frame rate is too slow, the illusion of movement is destroyed.
2 D Animation
Stop Motion Animation
Several standard techniques have been used to create animation since the origin of cinema. In 2D animation, sequential drawings are created and photographed to be played back at a specific frame rate. Stop motion has also been used since the early days of cinema. Objects are moved or adjusted a small amount, and each adjustment is photographed. More recent methods include computer-generated imagery (CGI), using hardware and software to create animation using computers for 3D animation and visual effects. In this class, we will examine animation's origins and study how animation production models and styles have evolved worldwide using these techniques.
Computer Animation (CGI)
What creates this illusion of motion that we see demonstrated in animation? English-Swiss physicist Peter Mark Roget first named a theory of perception called persistence of vision. He described it as a phenomenon in which an object that was moving at a particular speed would appear to be static. The term later became identified with a theory put forward by Joseph Plateau, the inventor of the optical toy the phenakistiscope, that successive images stayed on the retina of the eye, combining them, creating the illusion of motion. This theory was accepted into the 20th century when psychologist Max Wertheimer conducted experiments that led him to believe that the brain was involved in processing the information in this phenomenon, not merely the retina. In 1915, Hugo Munsterberg postulated that the apparent motion we perceive involves the brain. Subsequent research has shown that the properties of vision, such as color, motion, and depth, are transmitted to the brain from the retina and are joined together in the visual cortex.
The film below explains the theory of how we perceive motion in a set of sequential images and how it has evolved.
Persistence of Vision
Persistence of vision is the optical phenomenon where the illusion of motion is created because the brain interprets multiple still images as one. When multiple images appear in fast enough succession, the brain blends them into a single, persistent, moving image.
The human eye and brain can only process about 12 separate images per second, retaining an image for 1/16 of a second. If a subsequent image is replaced during this time frame, an illusion of continuity is created.
(from Maia, Alyssa, “What is Persistence of Vision? Definition of an Optical Phenomenon” StudioBinder.com May 11, 2020 https://www.studiobinder.com/blog/what-is-persistence-of-vision-definition/)
Frame Rate
It’s important to remember that frame rate is based on the properties of human vision, which is how our brain processes the information that our eye perceives. At a frame rate of one drawing per second, you perceive each drawing as a completely separate entity. As you increase the frame rate, you begin to see a choppy illusion of movement. At around 10-12 frames per second, the illusion is consistent, though if becomes much smoother if you keep increasing the rate. Film animation is traditionally 24 frames per second.
Frame rate (expressed in frames per second or FPS) is the frequency (rate) at which consecutive images called frames appear on a display. The term applies equally to film and video cameras, computer graphics, and motion capture systems. The frame rate may also be called the frame frequency and can be expressed in hertz.
The temporal sensitivity and resolution of human vision varies depending on the type and characteristics of visual stimulus, and it differs between individuals. The human visual system can process 10 to 12 images per second and perceive them individually, while higher rates are perceived as motion.
(from “Frame Rate” Wikipedia).
Japanese Animation
Hayao Miyazaki's contribution to animation is unparalleled. His films blend intricate detail, profound narratives, and a distinctive approach to sound and visuals. His works, including Princess Mononoke, showcase an adeptness at exploring complex themes through meticulously crafted worlds. His animation style is characterized by meticulous detail, vibrant landscapes, and a fluidity of movement that breathes life into every frame. Through his work, Miyazaki invites viewers into worlds imbued with wonder, challenge, and a deep respect for the environment, underpinned by a distinctive narrative depth that appeals to children and adults alike.
Miyazaki's films are not just visual spectacles but symphonies of sound and sight. Each film establishes its unique sound identity from the opening frame, crafting a signature aural personality that enhances the storytelling. This attention to sound design is crucial, as it fills the spaces his characters inhabit, defining those spaces with layers of meaning and emotion. My Neighbor Totoro exemplifies Miyazaki's serene and whimsical approach, where the natural sounds of lush forests take precedence, inviting the audience into a tranquil world brimming with the magic of nature. In contrast, Princess Mononoke presents a starkly different soundscape that uses nature as a backdrop to explore themes of conflict, industrialization, and the struggle between the human and the natural world. It is a film where every sound is charged with intention, from the screeching arrows to the swift sword swipes, creating a dynamic atmosphere that propels the narrative forward.
Princess Mononoke is a seminal work in Miyazaki's career. It is a compelling tale that delves into the complexity of environmentalism, war, and humanity's place within the natural world. However, a lesser-known film, Nausicaä of the Valley of the Wind, stands at the inception of Miyazaki's thematic and stylistic explorations.
Released initially in the U.S. as "Warriors of the Wind," Nausicaä suffered from severe editing that distorted its narrative and themes, leading to confusion and a poor reception outside Japan. This unapproved editing, which saw subplots and characters removed and an entirely new dialogue crafted, was a turning point for Miyazaki. It underscored his resolve for future productions to remain uncut by U.S. distributors, ensuring the integrity of his work. The uncut version, released in 2005 with a new dub featuring prominent actors, finally allowed U.S. audiences to experience the film as Miyazaki intended, and this anecdote is a microcosm that explains why editing is so essential in the animation process.
Nausicaä embodies Miyazaki's philosophy on the unique potential of animation. He asserts that unlike live-action films, which are constrained by the realism of their special effects, animation "illustrate[s] a world of lost possibilities." Animation offers a boundless canvas. Considered the foundation of Studio Ghibli, despite its release before the studio's formation, Nausicaä encapsulates the narrative and stylistic ambitions Miyazaki and his co-founders sought to realize; the film is a testament to animation's power to address weighty themes such as environmentalism and humanity's role within nature, without preaching. Its portrayal of three-dimensional characters, notably strong female protagonists and nuanced antagonists, along with a deep reverence for nature, sets a template for Miyazaki's later works.
Nausicaä laid the groundwork for the thematic and stylistic flourishes defining Miyazaki's work, marking a significant moment in his career and the broader animation landscape. It underscored the power of animation to convey complex, mature themes in a manner that transcends age and cultural barriers, setting a high bar for animated storytelling. Princess Mononoke later revisits and expands upon these themes and is the first animated film to win an Oscar.
Released in the wake of Miyazaki's early works, Akira, another iconic animated film we are studying, propelled the medium into new territories of narrative and technical excellence. While Miyazaki's films like Nausicaä and Princess Mononoke deeply explored the harmony and discord between humanity and nature through a fantastical lens, Akira took a grittier approach to examining society, technology, and human potential. Set against the backdrop of a dystopian future, Akira delves into themes of power, identity, and the consequences of unchecked technological advancement, distinguishing itself with a bold narrative and stylistic audacity that challenges and expands the global perception of what anime could be.
Akira emerged as a groundbreaking masterpiece when anime was scarcely known outside Japan, setting the stage for the genre's mainstream acceptance in the West. Its success demonstrated anime's universal appeal, breaking cultural barriers with its unique style, complex storytelling, and mature themes. The film distinguished itself from Western animations through its artistic and narrative innovation, offering a thought-provoking narrative on dystopian futures and human complexities. This contrast challenged prevailing norms and redefined animation's potential audience and scope.
The film capitalized on Japan's economic boom in the 1980s, leveraging an unprecedented budget to achieve technical excellence in animation. The "Akira Committee" pooled resources to meet Ôtomo's ambitious vision, utilizing 24 frames per second for fluid motion and incorporating CGI for artistic effects. Such technical advancements, including using 70mm film and prescoring to match voice performances with animation, set new standards in the industry. Akira's commitment to quality was evident in its detailed scenes and lifelike movement, contributing to its immersive storytelling.
Akira's influence was not limited to technical achievements; it also offered a mature narrative that diverged significantly from the conventional animations of its time. Focusing on realistic character portrayals and exploring deep societal issues connected with a broader, more mature audience. This approach and its cinematic quality and thematic depth cemented Akira's place in animation history as a landmark film. Its success not only introduced Japanese animation to a global audience but also established a new standard for storytelling and visual expression.
Video, Image, and Content Attributions:
Soviet Film – The Kuleshov Effect (original) by Lev Kuleshov 1918 by MediaFilmProfessor. Standard YouTube License.
Battleship Potempkin – Odessa Steps scene (Einsenstein 1925) by Thibault Cabanas. Standard YouTube License.
Kelly Reichardt: “Elaborated Time” by Lux. Standard YouTube License.
How Does an Editor Think and Feel? by Every Frame a Painting. Standard YouTube License.
DAY 177 Clip – Cut on Action by Russell Sharman. Standard YouTube License.
Cuts & Transitions 101 by RocketJump Film School. Standard YouTube License.
Casablanca First Cafe Scene by Leahstanz25. Standard YouTube License.
Snowpiercer – Left or Right by Every Frame a Painting. Standard YouTube License.
Whiplash – Date scene by Jack ss. Standard YouTube License.
Way Down East (1920) D. W. Griffith, dir. – Final Chase Scene by FilmStudies. Standard YouTube License.
Example of Parallel Editing in “The Silence of the Lambs” (1991) by Gabriel Moura. Standard YouTube License.
"What is Animation?" adapted from World History of Animation by BMCC faculty Anna Pinkas and Jody Culkin, as part of the BMCC Open Education Initiative via CC BY-NC.
StopBranko at English Wikipedia, Public domain, via Wikimedia Commons
Subhashish Panigrahi, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons
MichaelFrey, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons
How Studio Ghibli Makes Animation Feel Alive by KaptainKristian. Standard Youtube License.
Nausicaä; Nausicaä 004; Nausicaä 36; Nausicaä 009; Public Domain images: Studio Ghibli Works.
Nausicaä and the Rise of Studio Ghibli | The Director Project by Geekritique. Standard Youtube License.
The Impact of Akira: The Film That Changed Everything by Super Eyepatch Wolf. Standard Youtube License.
- Footage is a common way to refer to the recorded moving image, whether it’s on celluloid film or digital media. The term comes from the fact that physical film was measured in feet, with a standard reel of 35mm film measuring 1000 feet (or about 11 minutes at 24 frames per second). The technology has changed, but the terminology has stuck. ↵
- https://vashivisuals.com/shooting-ratios-of-feature-films/ ↵
Film Journal: Your Name, Akira, Tokyo Ghoul
Purpose:
In this journal, we want to demonstrate our overall understanding of the film process, with special emphasis on editing and acting in our final week. We are mostly looking at animation this week, but voice acting is its own art. Moreover, while the focus of this journal is on the films Your Name (Suga Shrine), Akira (Neo-Tokyo), and the anime Tokyo Ghoul (we only need to analyze one of the three).
Here is the challenge for our journal entries: this is not my textbook; it is our textbook. Is there a section of this module you think could be better, or would you like to add to it? Go for it. That is the point.
Prompts:
Analyzing Animation Editing Techniques
- Select a scene from Your Name, Akira, or Tokyo Ghoul. Count the number of cuts within the scene. Describe the scene in detail, focusing on the editing techniques used. Consider the following:
- Does the editing style mimic traditional filming techniques such as the master shot method or coverage?
- Are techniques like cutting-on-action, match cuts, or any form of transitions utilized to maintain the illusion of motion?
- Is there any use of cross-cutting/parallel editing, discontinuous editing, or does the scene challenge the 180-degree rule?
Given the nature of animation, where movement is an illusion created by sequential images, discuss how these editing choices contribute to the narrative flow and the viewer's perception of motion, especially in light of the frame rate's role in creating a seamless illusion of continuity.
The Art of Voice Acting in Animation
- Reflect on a voice performance from Your Name, Akira, or Tokyo Ghoul that particularly impacted you. Consider whether the acting style is more classical or naturalistic. How does the voice acting enhance the animated characters' emotional depth and narrative presence? Discuss the challenges and artistic considerations involved in bringing animated characters to life through voice.
Pace and Storytelling Through Editing in Animation
- Compare and contrast two scenes based on their editing pace: one with rapid edits and another with longer shots and fewer cuts. These scenes may come from the same animation or different ones. Analyze why the animators and editors might have chosen these specific editing styles. How does the pace affect the atmosphere of the scene and the story conveyed to the audience? Speculate on how swapping the pacing between these scenes would alter their impact and narrative delivery.
Consider how the principles of persistence of vision and frame rate play into these decisions. How does the chosen frame rate for each animation influence the editing style and the overall perception of motion and emotion in these scenes?
Given the digital creation of Your Name and the traditional, hand-drawn techniques of Akira, consider how the medium (digital vs. traditional animation) might influence editing choices, the portrayal of action, and the conveyance of emotion through voice acting. How do these techniques reflect the animation's themes and the director's vision?
Criteria:
All journal entries should use correct MLA formatting, specific diction and terms from the module, and a direct answer to the prompt using specific scenes and examples from the film you are reviewing. We must also provide a work cited page for the film we are reviewing!
Your response should be at least 500 words.
Task:
Complete the aforementioned journal following one of the prompts (noting that it is not imperative that you answer every question unless it is related and relevant to your overall point).
- You may submit your response in either a written, oral, or video format uploaded into the Google Classroom.
Here is an example of a review of the editing in Your Name: Stylizing Repetition: Kimi no Na wa (Your Name)’s Visual Language.
Explorative Assignment: Variations on a Scene
Variations on a Scene
Purpose:
For this assignment, we are looking to recreate one of our favorite scenes from Tokyo in film. For instance, check out this article by Otaku in Tokyo for multiple good, usable examples. We will, in fact, be visiting some of the very same places (Asakusa, Suga Shrine, Asahi Inari Shrine). Please use the local Family Mart to print a small postcard of your favorite scene in an attempt to recreate the scene in real life, as an example in the aforementioned article, or create a short film wherein you reenact a short scene from your film of choice using the same filming location.
Criteria:
Please focus and explain the elements of your photo or video in cinematic terms using the following parameters:
- Focus: plane of focus, focal length, and depth of field.
- Exposure: over/under / correct; privileging one element in the composition at the expense of another.
- Lighting: high-key (broad, even, bland); low-key (dramatic); and chiaroscuro (artistic, moody).
- (optional) Audio: layered sound effects, background music, voice-over, close-miked vs. shotgun-miked, and silent.
Locations for recreation (plan ahead!):
- Suga Shrine (Your Name) - May 15
- Edo Architectural Museum (any Edo period recreation) - May 15
- Check out the Tokyo Tourist guide to all the Tokyo Ghoul locations.
- The following Wards (from TG and the article above) are based on locations we will or have visited during our course:
- 1st Ward
- 3rd Ward
- 4th Ward
- 6th Ward
- 13th Ward
- The following Wards (from TG and the article above) are based on locations we will or have visited during our course:
- Neo Tokyo:
- Shinjuku (the best representation of Neo-Tokyo)
- (Tokyu Kabuchiko Tower);
- (The Sumurai Restaurant (formerly the Robot Restaurant)).
- Tokyo Metropolitin nightly light show (over by 21:00; viewing in "citizen square")
- DAWN robot cafe.
- Shinjuku (the best representation of Neo-Tokyo)
Turn-in Methods:
- This assignment is a bit more unique, and the recreation (modeling the Otaku article mentioned above) should be uploaded to the proper assignment dropbox.
Option Two:
Purpose: Work as a team on your group project to use the aforementioned sites from the excursions in this module to create your final project. You may work to complete any of the following portions of the final assignment:
Turn-in Methods:
- Storyboard: A storyboard that visually maps out each shot, tailored to the locations available.
- Shot List and Schedule: This comprehensive shot list and schedule organize shoots, equipment, and actor availability.
- Footage: Raw footage of the recreated scenes, demonstrating the application of cinematography techniques.
Please note that each of these items needs to be completed.
Task:
On one or more of our excursions to explore filming locations or locations recreated in animation, it is your task to work together to recreate iconic scenes, shots, movements, or compositions from film and animation.
You may submit your response in of the formats mentioned above and uploaded into the Google Classroom.
Explorative Assignment: Choreography and Story Telling
For our analysis focusing on Choreography, Blocking, and Storytelling, we will delve into three pivotal works that have significantly influenced their respective genres: Seven Samurai by Akira Kurosawa, Akira by Katsuhiro Otomo, and Tokyo Ghoul based on the manga series by Sui Ishida.
Purpose:
The assignment focuses on rethinking action sequences in film to highlight their potential for emotional depth and narrative progression. It encourages examining action beyond spectacle, emphasizing character development and plot advancement through choreography and cinematography.
- Analyze how action scenes can deepen narrative and emotional engagement.
- Explore the integration of choreography with storytelling.
- Examine cinematographic techniques for maintaining engagement in complex scenes.
The goal is to challenge traditional views of action cinema, inspiring students to create action sequences that are emotionally resonant and narratively meaningful.
Criteria:
Option One: Seven Samurai Recreate a scene that exemplifies Kurosawa's mastery of group dynamics and individual characterization through choreography and blocking. Focus on how these elements enhance the narrative's exploration of themes such as honor, duty, and the human condition.
Option Two: Akira Craft a scene that captures the essence of the film's cyberpunk setting and complex character relationships. Emphasize the choreography of action sequences and how they mirror the themes of power and self-identity.
Option Three: Tokyo Ghoul Develop a scene that reflects the series' intricate blend of horror and moral ambiguity. Consider how the choreography and character interactions can illustrate the protagonist's turmoil and the dark themes of the narrative.
Turn-in Methods for Scene Creation:
Script: Write a script that encapsulates the dialogue, action, and camera work of your chosen work, with an emphasis on choreographic and blocking decisions.
Storyboard: Produce a storyboard that visually represents the scene's layout, including character positioning, movements, and expressions.
Shot List and Schedule: Assemble a shot list and production schedule that outlines the logistical aspects of recreating the selected scene, focusing particularly on choreography and blocking.
Footage: Produce raw footage that closely mirrors the style and thematic content of the chosen scene, with a focus on cinematography and performance techniques.
Required Analysis:
Alongside the scene creation, each student must submit a 200-300 word analysis on the use of choreography and blocking in their selected work to bolster storytelling. This analysis should include:
Definition and Application: Define choreography and blocking within the contexts of live-action and animation, discussing their application in your chosen film or series.
Narrative Impact: Examine how the movement and arrangement of characters contribute to the thematic and emotional resonance of the work.
Creative Influence: Reflect on the director's or animator's stylistic choices regarding choreography and blocking, and their effect on the audience's perception and engagement with the story.
Option Four:
Purpose: Work as a team on your group project to use the aforementioned sites from the excursions in this module to create your final project. You may work to complete any of the following portions of the final assignment:
Turn-in Methods:
- Storyboard: A storyboard that visually maps out each shot, tailored to the locations available.
- Shot List and Schedule: This comprehensive shot list and schedule organize shoots, equipment, and actor availability.
- Footage: Raw footage of the recreated scenes, demonstrating the application of cinematography techniques.
Please note that each of these items needs to be completed.
Task:
Complete the specified journal following one of the prompts (noting that answering every question is not mandatory unless it is relevant to your overall point).
You may submit your response in either written, oral, or video format uploaded into the Google Classroom.
Week Two, Module Two - Sound Design
Just listen for a moment.
What do you hear?
Maybe you’re in a coffee shop, surrounded by the bustle of other customers, the busywork of baristas, and the sound of the city just outside. Maybe you’re in your room, a dog barking in the distance outside, cars passing, music playing in the background, maybe even the television. (Which, frankly, is just rude. I expect your undivided attention!) Maybe you’re alone in the library. It’s quiet. But is it really? Distant footsteps among the stacks. The hum of the air conditioning…
You are surrounded by sound unless you’re reading this in a sensory deprivation chamber. The soundscape around us shapes our understanding of the world, becoming its own meaningful context for every other sense perception. Most of the time, it barely registers; we don’t attend to it unless we are listening for something in particular. But take it away, and we feel lost, vulnerable, and disoriented.
Not surprisingly, sound provides an equally meaningful context for cinema. Or at least, it shouldn’t be surprising. But then again, it wasn’t until 1927 that Sam Warner figured out how to marry sound and image in The Jazz Singer, the first film with synchronized dialogue. Before that, no one cared that cinema was a purely visual medium. And as Sam toiled away at the new technology, most of the other movie moguls in Hollywood assumed it was a passing fad. That no one really wanted to hear the actors talking.
In the century or so since they were all proven wrong, sound has become co-expressive with cinematography; that is, it shapes how we see what’s on screen, just as the images we see influence how we perceive the sounds.
Just listen to how French filmmaker Agnès Varda has used sound and image together over the last half-century:
And like cinematography, sound recording and reproduction have increased in sophistication and technical complexity, developing its own important contribution to cinematic language along the way. So much so that when we talk about the use of sound in cinema, we talk about it in terms of sound design, a detailed plan for the immersive effects of a motion picture’s soundscape that begins in pre-production before a single frame is shot and extends to the very end of post-production, often the final element in the entire process.
SOUND RECORDING
Before we get to how that soundscape is shaped in the post-production process, let’s look at how (and what) sound is recorded during production. The production sound department is made up of several specialists dedicated to recording clean sound on set as the camera rolls. They include the on-set location sound recordist or location sound mixer, who oversees the recording of on-set sound and mixes the various sources in real-time during production; boom operators, who hold microphones on long poles to pick up dialogue as close to actors as possible without being seen on camera (it helps if they are very tall and relatively strong, those poles get heavy after a while), and assistant sound technicians, responsible for organizing the equipment and generally assisting the sound mixer.
And just like the camera department, the sound department has its own set of specialized equipment to make their work possible. Obviously, there are microphones involved. But sound recordists can be as particular about their microphones, what brand, type, and technology as cinematographers are about their cameras. Microphones can be omnidirectional or directional, cardioid or super-cardioid, mono or stereo, and each one will pick up sounds in a distinctly different way. You can use a shotgun mic on a boom pole to target a sound source from a reasonable distance with a shielded cable. Or you can use a tiny Lavalier mic taped to the collar of an actor that sends an audio signal wirelessly to the recorder. Or you can use all of the above in an endless number of configurations, all feeding into the same field mixer for the recordist to monitor and record.
Now you may be wondering, isn’t there a microphone right there on the camera? Why not just use that and save all that headache?
First of all, if you asked that out loud, every sound recordist in the universe just collectively screamed in agony. Second, they’re all so upset because cameras are designed to record an image, not sound. And while they may have a relatively cheap omnidirectional microphone built-in or even inputs for higher-quality microphones, nothing can replace the trained ears of a location sound mixer precisely controlling the various streams of audio into equipment designed to do just that. This is why, even now, most cinema uses dual-system recording, that is, recording sound separate from the image during production.
Dual-system recording allows for more precise control over the location sound, but it also comes with its own problem: synchronization. If the sound is recorded separately from the image, how do you sync them up when you’re ready to edit? Glad you asked. Ever seen one of these:
We have lots of names for it: clapper, sticks, sound marker, but the most common is slate, based on the fact that in the early days, it was made out of slate, the same stuff they used to make chalkboards. It serves two purposes. The first is to visually mark the beginning of each take with the key details of the production as well as the scene, shot, and take number. This comes in handy for the editor as they are combing through all of the footage in post-production. The second is to set a mark for sound synchronization. A crew member, usually the second camera assistant, holds the slate in front of the camera and near a microphone and verbally counts off the scene, shoots and takes a number, and then SLAPS the slate closed. In post-production, the editors, usually an assistant editor (cause, let’s face it, this is tedious work), can line up the exact frame where the slate closes with the exact moment the SLAP is recorded on the microphone. After that, the rest of the shot is synchronized.
In fact, this whole process, repeated for every take during production, is a kind of call-and-response ritual:
1st Assistant Director: “Quiet on the set! Roll sound!”
Sound mixer: “Sound speed!”
1st AD: “Roll camera!”
Cinematographer: “Rolling!”
2nd Assistant Camera: “Scene 1 Apple Take 1” SLAP!
Cinematographer: “Hold for focus. Camera set!”
Director: “And… ACTION!”
Every. Single. Time. And note that the 2nd AC mentions scene number 1, the shot, Apple (for shot “A” of scene 1), and take number 1.
But wait… sound speed? That’s another of those little anachronisms of cinema. For much of cinema sound history, the sound was recorded onto magnetic tape on a clunky reel-to-reel recorder. It would take a moment for the recorder to get up to “speed” once the recordist hit record, so everyone would have to wait until they called out “sound speed!” We use digital recording these days with no lag time at all, but the ritual never changed.
Sometimes, 2nd ACs can have a lot of fun with this little ritual. Check out Geraldine Brezca’s spin on the tradition throughout Quentin Tarantino’s Inglorious Basterds (2009):
Now that we have a sense of how things get recorded on set during production, we should probably cover what gets recorded. The answer: not much. Or at least a lot less than you might think. In fact, the focus of on-set recording is really just clean dialogue. That’s it. Everything else, background sounds, birds chirping, music on a radio, and even footsteps, are almost always recorded after production. The main job of location sound recordists is to isolate dialogue and shut out every other sound.
Why? Because sound editors, the folks who take over from the recordists during post-production, want to control everything. Remember how nothing is on screen by accident? The same goes for sound. Clean dialogue has to match the performance we see on screen, but everything else can be shaped to serve the story by layering in one sound at a time.
There is one exception. Another little ritual everyone gets used to on a set. At the end of a scene, when all of the shots are done, the location sound recordist will whisper to the 1st AD, and the 1st AD will call out: “Hold for room tone!” And then everyone stops in their tracks and holds still, remaining completely silent for at least 60 seconds.
It’s awkward:
But what is room tone? Every space, interior or exterior, has its own unique, underlying ambient sound. What we sometimes call a sound floor. During production, as the actors deliver their lines, the microphones pick up this sound floor along with the dialogue. But in post-production, as the editors pick and choose the takes they want to use, there will inevitably be gaps in the audio, moments of dead air. Room tone recordings can be used to fill in those gaps and match the sound floor of the recorded dialogue.
Of course, as I mentioned, it can be a bit awkward. But it can also be kind of beautiful in its own way:
Room tone is just another example of how sound editors control every aspect of the sound in the cinematic experience.
SOUND EDITING
In the last chapter, we focused on editing the visual elements in a motion picture and how the shots fit together to create a narrative flow and communicate with the audience. As it turns out, sound requires a similar approach in post-production and is often even more “invisible” than picture editing techniques. (In fact, if there are any sound editors reading this book, they probably noticed that picture editing has a whole chapter, and all they get is this one crumby section. Typical.)
But sound editing is much more than simply joining up the sounds that already exist. It involves creating all of the sounds that weren’t recorded on set to make up the rich soundscape of the finished motion picture. In that sense, it is literally more “creative” than picture editing! (How’s that, sound editors? Feel better now?)
One important bit of post-production sound creation has to do with dialogue. Sometimes, an actor’s dialogue for that perfect take is unusable because of distracting ambient sounds or a poorly placed microphone. (C’mon, location sound recordist, you had one job!) In that case, sound editors bring in the actors to perform ADR, short for Automated Dialogue Replacement (sometimes also referred to as Additional Dialogue Recording or “looping”). They simply play the scene in a repeating “loop” as the actors record the lines repeatedly until they match the performance on screen. Then, the sound editors adjust the quality of the recording to match the setting of the scene.
But what about all those other sounds that weren’t recorded on set? The birds chirping, the cars passing, even those footsteps? Those too, have to be created and gathered together in post-production and layered into the sound design. Many of these sounds already exist in extensive sound libraries, pre-recorded by sound technicians and made available for editors. But many of them must be created to match exactly what the audience will see on screen. That’s where foley artists come in.
Foley artists are a special breed of technicians, part sound recordists, and part performance artists. Their job is to fill in the missing sounds in a given scene. By any means necessary:
Foley artists have to get creative when it comes to imitating common (and not-so-common) sounds. But sound editors must go beyond recreating the most obvious sounds associated with a scene. Every rustle of clothing, a hand on a cup, brushing a hair behind an ear. These tiny details, most of which we would never notice unless they weren’t there, help create continuity in the final edit.
Yes, there’s that word again: continuity. Editing pictures for continuity means creating a narrative flow that keeps the audience engaged with the story. Editing sound for continuity has the same goal but relies on different techniques. For example, if we see someone walking on gravel but hear them walking on a hardwood floor, that break with continuity – or, in this case, logic – will take us out of the narrative. The soundscape must match the cinematography to maintain continuity. And since so much of the sound we hear in cinema is created and added in post-production, that requires incredible attention to detail.
But there are other ways editors can use sound to support the principle of narrative continuity, and not always by matching exactly what we see on screen. For example, a sound bridge can be used to help transition from one shot to another by overlapping the sound of each shot. This can be done in anticipation of the next shot by bringing up the audio before we cut to it on screen, known as a J-cut, or by continuing the audio of the previous shot into the first few seconds of the next, known as an L-cut. This technique is most noticeable in transitions between radically different scenes, but editors use it constantly in more subtle ways, especially in dialogue-heavy scenes. Here are some quick examples:
And just like picture editing, sound editing can also work against audience expectations, leaning into discontinuity with the use of asynchronous sounds that seem related to what we’re seeing on screen but are otherwise out of sync. These are sound tricks intended to either directly contrast what we see on screen or to provide just enough disorientation to set us on edge. Here’s one famous example of asynchronous sound from Alfred Hitchcock’s The 39 Steps (1935):
The woman opening the train compartment door discovers a dead body, but instead of hearing her scream, we hear the train whistle. In this case, we get an asynchronous sound combined with a J-cut.
Production sound recording and sound editing are all part of the overall sound design of cinema, and there are lots of moving parts to track throughout the process. Take a look at how one filmmaker, David Fincher (along with Christopher Nolan, George Lucas, and a few others), uses all of these elements of sound design to embrace the idea of sound as co-expressive with the moving image:
SOUND MIXING
Once all of the sound editing is done and matched up with the image, the whole process moves to the sound mixer to finalize the project. And if you’ve ever wondered why there are two Academy Awards for sound, one for sound editing and one for sound mixing, this is why. (Or maybe you’ve never wondered that because that’s when you decided to grab a snack. I mean, who pays attention to Best Sound Mixing?) Sound mixers must take all of the various sound elements brought together by the editors, including the music composed for the score (more on that later), and balance them perfectly so the audience hears exactly what the filmmakers want them to hear from shot to shot and scene to scene.
This is a very delicate process. On the one hand, the sound mix can be objectively calibrated according to a precise decibel level, or degree of loudness, for each layer of sound. Dialogue within a certain acceptable range of loudness, music in its range, sound effects in theirs. Basic math. On the other hand, the mix can and should be a subjective process, with actual humans in a room making adjustments based on the feel of each shot and scene. Most of the time, it’s both. When it’s done well, the audience will feel immersed in each scene, hearing every line of dialogue clearly, even when there are car crashes, explosions, and a driving musical score.
For example, check out this deconstruction of the sound design from a single scene from The Bourne Identity (2002):[1]
Sound mixing is one of those technical aspects of filmmaking that has evolved over the decades, especially as the technology for sound recording and reproduction has changed in more recent years. Starting with the birth of cinema sound in 1927, movie houses had to be rigged for sound reproduction. Which usually meant a couple of massive, low-quality speakers. But by 1940, sound mixers were already experimenting with the concept of surround sound and the ability to move the various channels of sound around a theater through multiple speakers to match the action on screen.
As the century rolled on, newer, high-fidelity sound reproduction found its way into theaters, allowing for more sophisticated surround sound systems and, consequently, more work for sound mixers to create an immersive experience for audiences. George Lucas introduced THX in 1983, a theatrical standard for sound reproduction in theaters to coincide with the release of Return of the Jedi. In 1987, a French engineer pioneered 5.1 surround sound, which standardized splitting the audio into six distinct channels: two in the front, two in the rear, one in the center, and one just for low bass sound. As recently as 2012, Dolby introduced Dolby Atmos, a new surround sound technology that heightens the available options for sound mixers. Now, sound can appear to be coming from in front, behind, below, or above audiences, creating a 3-D aural experience.
And every element in the final soundtrack has to be calibrated and assigned by the sound mixer. Check out how complex the process was for the sound mixers on Ford v Ferrari (2019):
Finding the right mix of sound is critical for any cinematic experience, but one element that many filmmakers (and audiences) neglect is the use of silence. The absence of sound can be just as powerful, if not more powerful, than the many layers of sound in the final track. Silence can punctuate an emotional moment or put us in the headspace of a character in a way that visuals alone simply cannot.
Check out how skillfully Martin Scorsese uses silence throughout his films:
Of course, in most of these examples, silence refers to the lack of dialogue or a dampening of the ambient sound. Rarely is a filmmaker brave enough to remove all sound completely from a soundtrack. Dead air has a very different quality to it than simply lowering the volume of the mix. But a few brave souls have given it a try. Here’s French New Wave experimental filmmaker Jean Luc Godard playing an aural joke in Band à part (1964):
It’s not actually a full minute of dead air – it’s more like 36 seconds – but it feels like an hour.
Compare that to this scene from the more recent film Gravity (2013):
That was also 36 seconds. Perhaps a little wink from the director Alfonso Cuaròn to the French master Godard. But both are startling examples of the rare attempt to remove all sound to great effect completely.
MUSIC
One of the most recognizable elements in the sound of cinema is, of course, music. And its importance actually pre-dates the synchronization of sound in 1927. Musical accompaniment was almost always part of the theatrical experience in the silent era, and films were often shipped to theaters with a written score to be performed during the screening. Predictably, the first “talking picture” was a musical and had more singing than actual talking.
As the use of sound in cinema has become increasingly sophisticated over the last century, music has remained central to how filmmakers communicate effectively (and sometimes not so effectively) with an audience. At its best, music can draw us into a cinematic experience, immersing us in a series of authentic, emotional moments. At its worst, it can ruin the experience altogether, telling us how to feel from scene to scene with an annoying persistence.
But before we try to sort out the best from the worst, let’s clarify some technical details about how and what type of music is used in cinema. First, we need to distinguish between diegetic and non-diegetic music. If the characters on screen also hear the music we hear, that is, it is part of the world of the film or TV series, then it is diegetic music. If the music is not a part of the world of the film or TV series, and only the audience can hear it, then it is non-diegetic music. Too abstract? Okay, if a song is playing on a radio in a scene, and the characters are dancing to it, then it is diegetic. But if scary, high-pitched violins start playing as the Final Girl considers going down into the basement to see if the killer is down there (and we all know the killer is down there because those damn violins are playing even though she can’t hear them!), then it is non-diegetic.
Diegetic versus non-diegetic sound is a critical concept in the analysis of cinema, and crafty filmmakers can play with our expectations once we know the difference (even if we didn’t know the terms before now). For example, non-diegetic music can communicate one emotion to the audience, while diegetic music communicates something entirely different for the characters on screen. Think about the movie JAWS (1975). Even if you haven’t seen it, you know those two deep notes – da dum… da dum – that start out slow, then build and build, letting us know the shark is about to attack. Meanwhile, the kids in the water are listening to pop music, completely oblivious to the fact that one of them is about to be eaten alive!
And this concept applies to more than just music. Titles, for example, are a non-diegetic element of mise-en-scene. The audience can see them, but the characters can’t.
Second, we need to distinguish between a score written by a composer and what we could call a soundtrack of popular music used throughout that same motion picture. The use of popular music in film has a long history, and many of the early musicals in the 1930s, 40s, and 50s were designed around popular songs of the day. These days, most films or TV series have a music supervisor who is responsible for identifying and acquiring the rights for any popular or pre-existing music the filmmakers want to use in the final edit. Sometimes, those songs are diegetic – that is, they are played on screen for the characters to hear and respond to – or they are non-diegetic – that is, they are just for the audience to put us in a certain mood or frame of mind. Either way, they are almost always added in post-production after complete filming. Even if they are meant to be diegetic, playing the actual song during filming would make editing between dialogue takes impossible. The actors have just to pretend they are listening to the song in the scene, which is fine since pretending is what they do for a living.
But the type of music that gets the most attention in formal analysis is the score, the original composition written and recorded for a specific motion picture. A film score, unlike popular music, is always non-diegetic. It’s just for us in the audience. If the kids in the water could hear the theme from JAWS, they’d get out of the damn water, and we wouldn’t have a movie to watch. It is also always recorded after the final edit of the picture is complete. That’s because the score must be timed to the rhythm of the finished film, each note tied to a moment on screen to achieve the desired effect. Changes in the edit will require changes in the score to match.
It is in the score that a film can take full advantage of music’s expressive, emotional range. But it’s also where filmmakers can go terribly wrong. Music in film should be co-expressive with the moving image, working in concert to tell the story (pun intended, see what I did there?). The most forgettable scores simply mirror the action on screen. Instead of adding another dimension, what we see is what we hear. Far worse is a score that does little more than tell us what to feel and when to feel it. The musical equivalent of a big APPLAUSE sign.
These tendencies in cinematic music are what led philosopher and music critic Theodor Adorno to complain that the standard approach to film scores was simply to “interpret the meaning of the action of the less intelligent members of the audience.” Ouch. But, in a way, he’s not wrong. It's not about the less intelligent bit. But about how filmmakers assume a lack of intelligence, or maybe awareness, of the power of music in cinema. Take the Marvel Cinematic Universe, for example. You all know the theme of JAWS. You probably also know the musical theme for Star Wars, Raiders of the Lost Ark, and maybe even Harry Potter. But can you hum a single tune from any Marvel movie? Weird, right? Check this out:
The best cinema scores can do so much more than simply mirror the action or tell us how to feel. They can set a tone, play with tempo, and subvert expectations. Music designed for cinema with the same care and thematic awareness as cinematography, mise-en-scene, or editing can transform our experience without us even realizing how and why it is happening.
Take composer Hans Zimmer, for example. Zimmer has composed scores for over 150 films, working with dozens of filmmakers. And he understands how music can support and enhance a narrative theme, creating a cohesive whole. In his work with Christopher Nolan, The Dark Knight (2008), Inception (2010), and Interstellar (2014), his compositions explore the recurring theme of time:
Musical scores can also emphasize a moment or signal an important character. Composers use recurring themes, or motifs, as a kind of signature (or even a brand) for a film or tv series. The most famous of these are the ones you can probably hum to yourself right now, again like Star Wars, Raiders of the Lost Ark, maybe even Harry Potter. Composers can use this same concept for a specific character as well, known as a leitmotif. Think of those two ominous notes we associate with the shark in JAWS. That’s a leitmotif. Or the triumphant horns we hear every time Indiana Jones shows up in Raiders. That’s a leitmotif.
Oh, and all those movies I mentioned just now? They all have the same composer. His name is John Williams. And he’s a legend:
While we are not analyzing a Studio Ghibli film in this section, I would be remiss not to mention Mamoru Fujisawa, better known by his professional name, Joe Hisaishi, a Japanese composer and conductor whose partnership with Miyazaki began in the early 1980s. In fact, Hisaishi's success and global recognition garnered him the moniker ‘the Japanese John Williams.’
Yet, as amazing has Hisaishi and Williams are as composers, cinema is set apart as an art form for its ability, and need, to blend all of the arts into something more, and it is the blend of Miyazaki's artistry and vision, Hisaishi's emotive compositions, and uniquely Japanese sentiment that creates Ghibli's magic.
For instance, Shantanu Singh over at Medium notes:
One of the things that Miyazaki often talks about is “Ma”, or as he calls it, the silence between the clap. “Ma” is a Japanese concept that refers to the respite between activity. Miyazaki deftly integrates this respite within his work. He makes sure that there is stillness between the chaos. A moment where you can pause and just enjoy the beautiful scenery, the vibrant colors, and the music that accompanies it all.
We do have the option, however, of studying another notable collaborative duo, Shinichiro Watanabe and Yoko Kanno, who created Cowboy Bebop, Samurai Champloo, Space Dandy, and others, who are directly inspired by not only a genre of music but are crafted like a (delightfully) self-contained album.
GammaRay gives us a nice documentation of Shinichiro's inspirations as well as how Kanno inspired Watanabe in real-time:
Video and Image Attributions:
The Sounds of Agnès Varda by Fandor. Standard YouTube License.
Traditional Wooden Slate. Public Domain Image.
Inglourious Basterds – “Camera Angel” Clapper by rucksack76. Standard YouTube License.
Living in Oblivion (room tone) by Ana Limón. Standard YouTube License.
The Gift of Room Tone by The Criterion Collection. Standard Vimeo License.
How The Sound Effects In ‘A Quiet Place’ Were Made | Movies Insider by Insider. Standard YouTube License.
SFX Secrets: The J Cut & The L Cut by Fandor. Standard YouTube License.
39 Steps train whistle J-cut by Jack Lucido. Standard YouTube License.
Fight Club | The Beauty of Sound Design by Film Radar. Standard YouTube License.
Car chase sound design in The Bourne Identity by INDEPTH Sound Design. Standard YouTube License.
‘Ford v Ferrari’ Sound Editors Explain Mixing Sound for Film | Vanity Fair by Vanity Fair. Standard YouTube License.
Martin Scorsese – The Art of Silence by Every Frame a Painting. Standard YouTube License.
Bande à part – One Minute of Silence by Etrio Fidora. Standard YouTube License.
Gravity – Clip (7/11): Ryan’s Hallucination by Richard Parker. Standard YouTube License.
Jaws (1975) – Get out of the Water Scene (2/10) | Movieclips by Movieclips. Standard YouTube License.
The Marvel Symphonic Universe by Every Frame a Painting. Standard YouTube License.
The Meaning in the Music: Hans Zimmer and Time by Dan Golding. Standard Vimeo License.
John Williams and the universal language of film music by Dan Golding – Video Essays. Standard YouTube License.
COWBOY BEBOP: The Art of Music Scoring Anime by GammaRay. Standard YouTube License.
- If you want to see more videos like this one, check out InDepth Sound Design's YouTube channel, it's pretty cool: https://www.youtube.com/channel/UCIaYa00v3fMxuE5vIWJoY3w ↵
Film Journal: Adrift in Tokyo, Like Someone In Love, or Shoplifters
Purpose:
This assignment aims to deepen our understanding of the role of sound and silence in the film, both animated and live-action, exploring how these elements are crafted and edited to create verisimilitude and enhance narrative depth. Drawing inspiration from diverse cinematic practices, we'll consider how the concept of "Ma," as emphasized by Hayao Miyazaki—the strategic use of silence or pause—can influence film beyond the realm of animation, offering moments of respite amidst cinematic activity.
Here is the challenge for our journal entries: this is not my textbook; it is our textbook. Is there a section of this module you think could be better, or would you like to add to it? Go for it. That is the point.
Prompts:
Silence and Sound in the Cinematic Soundscape
Choose a scene from a live-action film that notably incorporates silence beyond the absence of dialogue. Reflect on the auditory elements present:
- Identify sound editing techniques used in the scene, such as "sound bridges," J-cuts, L-cuts, or the deliberate use of silence.
- Discuss how these techniques contribute to the ambiance of the scene and its emotional impact on the audience.
- Considering Miyazaki's concept of "Ma"—the pause or gap that adds depth and breadth to the narrative—analyze how strategic silences within the scene might serve a similar purpose, even in the context of live-action cinema.
Diegetic Music and its Narrative Function
Analyze a scene that features diegetic music within a live-action film, focusing on the choice to include this element and its effect:
- Examine the interaction between characters and the diegetic music, pondering what it reveals about their internal states or relationships.
- Reflect on how moments of silence before, after, or between pieces of diegetic music might enhance the scene's narrative impact, drawing a parallel to Miyazaki’s use of "Ma" to enrich storytelling through contrast and relief.
Criteria:
All journal entries should use correct MLA formatting, specific diction and terms from the module, and a direct answer to the prompt using specific scenes and examples from the film you are reviewing. We must also provide a work cited page for the film we are reviewing!
Your response should be at least 500 words.
Task:
Complete the aforementioned journal following one of the prompts (noting that it is not imperative that you answer every question unless it is related and relevant to your overall point).
You may submit your response in either a written, oral, or video format uploaded into the Google Classroom.
Explorative Assignment: Deconstructing Narrative
Deconstructing Narrative
Purpose:
In this final assignment, we will use Tokyo's avant-garde spirit.
From the genderless fashion trends to the deep love of Jazz and improvisation, there is something subversive in the prefecture's air. So, in our final assignment, the big emotions will be played small, and the small emotions will be played big, and we will take a postmodern approach.
Historically, culture progressed through stages. In premodern culture, art and religion played a central role. With the Industrial Revolution, mass image production emerged, leading to modernism—rejecting traditional values in favor of new ideologies like consumerism and science. Fast-forward to the mid-20th century, when an inundation of mass-produced images led to postmodernism.
Baudrillard, a French academic, observed three main aspects of post-modernism:
- Our reality is saturated with cultural representations, resulting in intertextuality—borrowing from existing culture when creating new products.
- Hyperreality blurs the lines between simulation and reality. As seen in TV shows and social media, we often accept simulations as facts.
- Lastly, meaning implosion occurs due to conflicting messages, leading to diverse interpretations and a loss of trust in truth.
Does this sound a little like Tarantino and Miike? It should; they are both postmodern directors.
In essence, postmodernism signifies a cultural state in which media overwhelms reality, leading to a hyper-real world with challenges in distinguishing between simulation and reality and conflicting interpretations of truth.
If that explanation did not work, try this one:
This explains postmodernism, but it also is postmodernism.
That's, like, sixteen walls.
Criteria for Scene Creation:
- Utilize Lighting and Color: Manipulate lighting and color grading to invert traditional scene expectations. Consider how altering these elements can change the mood or perceived reality of a scene.
- Sound and Music Underscoring: Replace or juxtapose the scene’s original soundtrack with everyday sounds or music that either enhances or contradicts the visual narrative, thus challenging normative emotional cues.
- Special Effects and Editing: Employ special effects and editing techniques to distort or amplify the scene's reality. This could involve playing with speed, reversing footage, or inserting unexpected visual elements.
- Dialogue Alteration: Experiment with removing, altering, or overdubbing dialogue to shift the scene's focus, impact, and interpretation, creating new layers of meaning or dissonance.
Turn-in Methods for Scene Deconstruction:
- Script: Develop a script that details your creative choices in altering dialogue, action, and camera work, highlighting how these changes contribute to a postmodern reinterpretation of the scene.
- Storyboard: Create a storyboard that visually outlines your proposed alterations, showing how lighting, color, sound, and special effects will be used to achieve the desired effect.
- Shot List and Schedule: Prepare a shot list and schedule that organizes the practical aspects of realizing your deconstructed scene, including any necessary equipment and settings.
- Animatic: Produce an animatic that sequences your storyboard into a coherent visual flow, providing a clear representation of how the final scene will unfold with the proposed edits.
- Footage: Generate raw footage that embodies your postmodern vision, carefully incorporating the intended lighting, sound, music, and editing techniques to challenge viewers' expectations.
Required Analysis of Postmodern Techniques:
Alongside the scene recreation, each student must submit a 200-300 word analysis that critically examines the postmodern techniques employed in their scene. This analysis should cover:
- Technique Identification: Describe the specific postmodern techniques you applied, such as hyperreality, intertextuality, or meaning implosion, and how they were implemented in your scene.
- Intertextual and Hyperreal Elements: Discuss how your scene borrows from or references existing cultural products, and how you've used these elements to blur the lines between simulation and reality.
- Narrative and Meaning: Reflect on how your alterations challenge traditional narrative structures and invite diverse interpretations, considering the impact on viewer perception and the notion of truth.
Option Two:
Purpose: Work as a team on your group project to use the aforementioned sites from the excursions in this module to create your final project. You may work to complete any of the following portions of the final assignment:
Turn-in Methods:
- Storyboard: A storyboard that visually maps out each shot, tailored to the locations available.
- Shot List and Schedule: This comprehensive shot list and schedule organize shoots, equipment, and actor availability.
- Footage: Raw footage of the recreated scenes, demonstrating the application of cinematography techniques.
Please note that each of these items needs to be completed.
Task:
It is your task to work together to recreate and deconstruct an iconic scene, shot, movements, or compositions from film and animation.
You may submit your response in either a written, oral, or video format uploaded into the Google Classroom.
Week Three, Module Two - The Final Film
Final Project: That's a Wrap
Here we are, wrapping up, and it bears mentioning again:
We don't expect great acting, fancy VFX, complex sets, or the use of high-quality equipment, and we will primarily evaluate the student and group's process, intermediate materials, and technical appreciation of cinematography.
Likewise, our educational Educational Goals are:
- Practice and then demonstrate the technical skills you acquired during the semester.
- Iterate on a production, refining your work and learning from peers, mistakes, and serendipity.
- Create a physical artifact for your portfolio.
- Experience the complete production cycle and the thrill of creation.
Our final project may be presented in stop motion, a documentary, a sequence of freeze-frame live-action stills, live-action, or animation, and much of the work should already be done, so it is time for post-production. There is no time to look back now.
It is time to commit to our final product, and I only ask for one thing:
Final Project Submission Criteria
- Team Composition and Collaboration
- Evidence of effective teamwork: Documented roles and contributions of each team member.
- Peer support: Proof of participation in another team's project for at least 2 hours.
- Preproduction Materials
- Script (if applicable): Clear dialogue and narrative flow.
- Storyboard: Visual representation of each shot.
- Shot List: Detailed list of every shot in the film, including camera angles and movement.
- Production Schedule: Detailed timeline for shoots, including reserved equipment and spaces, actor availability, and editing.
- Animatic (Optional): A basic version of your film using storyboard panels, still frames, and/or existing footage to outline the story.
- Production Materials
- Footage: Dailies and B-roll coverage, with multiple takes of key shots. Approximately 10x the amount of footage compared to the expected running time of the final product.
- Storyboard and Animatic Revisions (if applicable): Updated versions based on actual footage.
- Post-Production Materials
- Rough Cut: A preliminary edit of the film, including placeholder audio and up to two still shots from the storyboard or found footage. This version should be presented in 540p or 360p MP4 format.
- Final Film:
- Length: 2 to 8 minutes, plus titles and credits, in 720p MP4 format.
- Must include titles, credits, and copyright information.
- Demonstrates knowledge of cinematography, intentional lighting, and editing in continuity/IMR style. Audio is optional but recommended.
- Camera footage was filmed by the team (it cannot be 100% animation or found footage).
- Extra Credit
- "Behind the Scenes" Reel: Less than 150 MB, in 720p MP4 format, showcasing elements of the production process.
Task:
Each student should submit their final assignment. (Yes, the final product will be the same for everyone in the group, but the surrounding material should be unique for each student involved.)
You may submit your final project by uploading it to Google Classroom.
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oercommons
|
2025-03-18T00:34:22.728769
|
Activity/Lab
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/108773/overview",
"title": "Introduction to Cinema: Study Abroad",
"author": "Visual Arts"
}
|
https://oercommons.org/courseware/lesson/89784/overview
|
Upton Sinclair - The Jungle, excerpts
Overview
Excerpts from The Jungle, specifically his famous discription of the meat packing Industry.
Upton Sinclair, The Jungle. 1906. Pg. 162-173. Accessed at https://archive.org/details/upton-sinclair_the-jungle/page/n161/mode/2up Oct. 24, 2021. This work is CC0 1.0 Universal.
Upton Sinclair, The Jungle. 1906. Pg. 162-173. Accessed at https://archive.org/details/upton-sinclair_the-jungle/page/n161/mode/2up Oct. 24, 2021. This work is CC0 1.0 Universal.
|
oercommons
|
2025-03-18T00:34:22.768011
|
Linda Coslett
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/89784/overview",
"title": "Upton Sinclair - The Jungle, excerpts",
"author": "Susan Jennings"
}
|
https://oercommons.org/courseware/lesson/90793/overview
|
What Are Epicanthal Folds?
Overview
A brief explanation of what Epicanthal Folds are.
What Are Epicanthal Folds?
A brief explanation of what Epicanthal Folds are.
A brief explanation of what Epicanthal Folds are
Epicanthal folds are oblique or vertical folds from the upper or lower eyelids towards the medial canthus. Basically, it is a skin fold on the upper eyelid which covers the inner angle of the eye, which makes them appear smaller and more slanted, even if the eye itself is no different from an eye with no epicanthic fold. While it is the most frequent among East Asians, there are some populations which also have this feature without being Asian. The most common example of a non-Asian people group with epicanthic folds are the Khoisan, who inhabit the Kalahari desert of Southern Africa - they have no Asian ancestry and are some of the oldest communities in the world. The Sami and Finnish people often have epicanthal folds. In fact, every baby throughout the world is born with epicanthic folds, In some people the folds are retained into adulthood, while in some people they reduce at an early age. Babies often grow out of it as the bridge of their nose grows, but it can also be a sign of some genetic abnormalities like down syndrome, turner syndrome, fetal alcohol syndrome and some others. Some say that it’s just reproductive preference. At some point in time, in certain regions of the world those folds in the eye were preferred. However that is not entirely true. Why people have this feature is actually because in the past it helped protecting the eyes during very bad weather at cold temperatures, as well as from the sun and the dust. And during the lastest ice age, the ancestors of today's Inuits (who later spread across Asia, North America etc.) had to protect their eyes from snow blindness. The eyes became narrower to provide more shade and therefore protection from harsh light.
We can talk about 3 types of epicanthus :
Epicanthus tarsalis: fold most prominent along upper eyelid
Epicanthus inversus: most prominent along lower eyelid
Epicanthus palpebralis: involves both upper and lower eyelids
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oercommons
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2025-03-18T00:34:22.782865
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03/10/2022
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/90793/overview",
"title": "What Are Epicanthal Folds?",
"author": "Gamze KILIÇ"
}
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https://oercommons.org/courseware/lesson/75877/overview
|
A Guide To Smartphone Astrophotography
Overview
This free, illustrated book features instructions and information for how to use your smartphone to take photographs of the night sky and numerous astronomical objects. .
Author: Sten Odenwald (NASA Goddard; Astronomy Cafe) Publisher: NASA Goddard Space Flight Center
This free, illustrated book features detailed instructions and background information (for either instructors or students) for how to use your smartphone to take photographs of the night sky and numerous astronomical objects. Format: 189 pages, 185 illustrations, 18 Mby, PDF.
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oercommons
|
2025-03-18T00:34:22.799507
|
Activity/Lab
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{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/75877/overview",
"title": "A Guide To Smartphone Astrophotography",
"author": "Visual Arts"
}
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https://oercommons.org/courseware/lesson/122548/overview
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Library science
Overview
Library science
Notation and Content
Notation and Content
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oercommons
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2025-03-18T00:34:22.815672
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12/04/2024
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/122548/overview",
"title": "Library science",
"author": "Anisha Ghosh"
}
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https://oercommons.org/courseware/lesson/107171/overview
|
Learning how to develop a SWOT Analysis
Overview
This assignment will be an instruction-based resource. The specific topic is a quality assurance
lesson based on selecting an organization's particular problem that needs to improve a product or
service. The specific topic is providing instruction on he SWOT analysis.
The skill that will be achieved is applying the SWOT analysis to a specific problem the student or
learner presents. The earner can demonstrate the skill by developing the SWOT analysis using a
template provided or following the image shown. Also, there will be digital badges for the
successful completion of the course.
This training will be based on the SWOT analysis. The SWOT analysis is based on four different
areas: Strengths, Weaknesses, Opportunities, and Threats. These areas are useful in evaluating a
product or service that may need to be assessed and either redesigned, improved, or even replaced.
Developing a SWOT Analysis
Wikimedia Commons. (2023). Swot Analysis. Retrieved from https://commons.wikimedia.org/wiki/File:SWOT_en.svg
Steps for the SWOT Analysis
This assignment will be an instruction-based resource. The specific topic is a quality assurance lesson based on selecting an organization's particular problem that needs to improve a product or service. The specific topic is providing instruction on the SWOT analysis.
The skill that will be achieved is applying the SWOT analysis to a specific problem the student or learner presents. The learner can demonstrate the skill by developing the SWOT analysis using a template provided or following the image shown. Also, there will be digital badges for the successful completion of the course.
This training will be based on the SWOT analysis. The SWOT analysis is based on four different areas: Strengths, Weaknesses, Opportunities, and Threats. These areas are useful in evaluating a product or service that may need to be assessed and either redesigned, improved, or even replaced.
Strengths are based on the organization's support of the product or service. The Weakness is areas where the organization feels that improvements are needed; for example, are resources outdated, is new technology required, or should they dispose of the product or discontinue the service? Opportunities are areas where the organization may feel a gap in a product or service that can be improved. Are there opportunities to expand and develop new or improved products and services? The last is threats, an area the organization may want to evaluate and look at benchmarks to see if others are working on the same initiative. By working through each area, an organization can see if they have specific areas that need improvements that will help their organization move more in a competitive direction.
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oercommons
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2025-03-18T00:34:22.831107
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07/27/2023
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/107171/overview",
"title": "Learning how to develop a SWOT Analysis",
"author": "Diane Stottlemyer"
}
|
https://oercommons.org/courseware/lesson/90642/overview
|
OER Bibliography
Praderas marinas en el sur de Florida
Seagrass in South Florida
Seagrass in South Florida
Overview
Open access brochure that explains the importance of seagrass and what the reader can do to help.
This brochure introduces the state of seagrass in south Florida and provides the reader with tips on how to help. It is available in both English and Spanish.
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oercommons
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2025-03-18T00:34:22.850453
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Diagram/Illustration
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{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/90642/overview",
"title": "Seagrass in South Florida",
"author": "Environmental Science"
}
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https://oercommons.org/courseware/lesson/91700/overview
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Spanish for Communication and Cultural Understanding (Beginner)
Overview
This resource was designed for a beginning Spanish student, but its content can be useful (and adapted to) more advanced students.This online textbook is comprised entirely of free, open-educational resources which are available to anyone. These include SpanishDict.com, StudySpanish.com, The Spanish Experiment, YouTube and much more.
The content is practical, authentic and engaging, but more importantly, it allows students to acquire much more than basic Spanish skills. The emphasis will be on oral communication and cultural understanding, but grammar and vocabulary building activities are also included in order to provide the student with a well-rounded experience equivalent to one semester of a college-level introductory Spanish course.
Overview
This resource was designed for a beginning Spanish student, but its content can be useful (and adapted to) more advanced students.This online textbook is comprised entirely of free, open-educational resources which are available to anyone. These include SpanishDict.com, StudySpanish.com, The Spanish Experiment, YouTube and many more.
The content is practical, authentic and engaging, but more importantly, it allows students to acquire much more than basic Spanish skills. It provides students with oppotunities to learn about Spanish, Latin and Hispanic culture and geography, as well as acquainting the students with Spanish as it is actually spoken in many different countries.The course is divided into 14 modules with each module centering around specific themes aimed at increasing oral Spanish skills. Even though grammar is essential to learning any language, in this course speaking the language, strategies for learning languages and culture take precedence over grammar drills.
Modules are divided into sections with each section including activities that can be used in a face-to-face classroom or online classroom. They are activities that should take between 15 - 60 minutes and provide students with opportunities to:
- Acquire or increase Spanish speaking, listening, reading and writing skills.
- Learn strategies for language learning and for learning in general (learn how to learn!)
- Become acquainted with Spanish, Latin American and Hispanic culture
- Explore free, online resources and platforms available for language learning
Module Topics
Basic greetings
Let’s continue to get to know each other
Introducing yourself and others
Question words
Talking about different languages
Routines
Food and Shopping
Travel
Talking about the weather
Spanish for work
Feelings and more
Emergencies
Spanish and Arabic Connection
Spanish around the World
Module 0: Resources and Tutorials (How do I...?)
NOTE: With any external site incuded in this textbook resource, please watch out for ads and be cautious of where you click!
Click on the below for tutorials or useful information
- How to record and share a Vocaroo audio file (Free version. No download needed)
- How to take a screenshot
- How to create a video screencast with ScreenPal (free version, download needed)
- How to use SpanishDict (Free version. You will need to register using your Google account/login. There is a paid option which is highly recommended)
Recommended Language Learning Platforms (all external sources that have both free and paid versions)
Recommended Vocabulary and Translation (all external sites)
Recommended YouTube Channels
Recommended Websites (Please watch out for ads and be cautious of where you click!)
- The Spanish Experiment
- Spanish Homeschool Academy
Module 1: Spanish Basics
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (15 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (15 minutes)
- Language Learning Lab (30 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (30 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
| Scroll down to get started with the first section! |
Section 1: Warm-Up
Basic Greetings
One of the first things that are useful to learn in any language are greetings. To help us greet and introduce each other (as well as to do so with others!), watch the following and read this lesson from Homeschool Spanish Academy to learn about basic greetings and introductions in Spanish. You will also answer questions based on the videos, and what you learn from the videos will also help you with the Discussion Board this week.
- After watching the videos, from each video, please choose the 2 most useful phrases for you (2 from each video) and write them as a list in English and Spanish. Replace the name (and other personal information) of the person in the video with your own name and information.
.
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Section 2: Authentic Conversation
Let's get to know each other
Building a community is important in any class, but especially in an online class. To help us do that, please read over this Spanish Academy Lesson (click HERE to access) and watch the videos below. Based on the lesson and videos:
- On the appropriate discussion board area of your course, we will get to know each other, but we will do so in Spanish and English
- In Spanish and English, please share your name, age (optional), your major (especialidad), where you are from and anything else you would like to share about yourself such as hobbies, interests, pets, etc.
- Include a photo of yourself (if you are comfortable doing so) or an image that represents you.
- Please respond to the posts of at least 2 other students. Please do so in Spanish (and optional include the English version as well.)
You are welcome to use Google Translate or any other translation platform to help you with your Spanish post. Please include which (if any) translation app you used.
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot (or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
| Scroll down to continue to the next section |
Section 3: Vocabulary Builder
Diacritical Marks and Homonyms
Assignment: Practicing Spanish Diacritical Marks
Read the Article: Learn about a specific type of diacritical marks in Spanish, such as tildes, by reading the article What You Need to Know About Diacritical Marks in Spanish. Pay close attention to how accents can change the meaning of a word.
Watch the Video: Below, you’ll find a video on Spanish accent rules. Watch it to reinforce your understanding.
Practice with TypeIt:
- From the article, locate the Common Spanish Homonyms table.
- Using the TypeIt text editor, manually type all the words from this table, including both accented and non-accented versions, along with their definitions.
- The TypeIt editor will help you correctly enter Spanish accents and special characters, such as the inverted question mark.
Submit Your Work:
- Take a clear screenshot of your TypeIt screen showing the homonyms and their definitions.
- Ensure that it is evident from the screenshot that you typed the words in TypeIt rather than copying and pasting from the article.
Important: The goal of this assignment is to practice using a Spanish text editor, so make sure you type the words manually rather than pasting them from the article.
| Scroll down to continue to the next section |
Section 4: Language Learning Lab
Planning for Success
As you probably already know, managing academics, work, family and social commitments is a challenge. However, there are ways to plan for success in all areas which are worth exploring. Please watch the videos on below, and based on the videos answer the following questions:
- Based on theBenefits of a Bilingual Brain video, what are three benefits of being bilingual?
- Which two strategies from the Thomas Frank video would be most useful to you?
- Do you have the time or are you willing to make the time to learn Spanish while in this course?
- State your full name, state what grade you would like to earn in this class and explain how you plan to earn that grade?
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Section 5: Grammar & Writing
Gender of Nouns
In Spanish, nouns are either feminine or masculine. There are no netural nouns. Please visit the SpanishDict lesson provided via the link below to learn about this topic.
NOTE FOR FIRST TIME SPANISHDICT USERS: You will need to register to the platform using a gmail/google account. There is a free version which has a lot of ads, so watch out for those. If you have the means, the paid version is highly recommended.
ISSUES ACCESSING SPANISHDICT? If you are having issues accessing SpanishDict, please try a different browser and/or a different device and/or a different wi-fi network. Sometimes there are school-issued computers with security settings that affect access to external platforms such as this one.
- Complete the Activity Lessons located at the top of the page. Choose at least 3 lessons you will complete (choose the 1st lesson and then choose 2 others) and click on each lesson.
- Provide a screenshot of each completed lesson as evidence of your completion. If you complete lessons at different times, you can submit separate screenshots. If you complete them all at one, you can submit one screenshot that shows they have been completed.
SPANISHDICT ACTIVITY
THE SECTION IS TITLED: GENDER OF NOUNS AND PRONOUNS. The screen should look like the image below. If it does not, it could be somehow you were routed to a different lesson. If that is the case, you may need to try again or do a search for SpanishDict lessons/activities on GENDER OF PRONOUNS
Interactive lessons at the top of the page for which you will submit screenshot(s) as proof of completion) Click on each of the lessons to complete.
Choose 3 including the 1st lesson. This means you will complete the first lesson and choose 2 others to complete as well.
- Note: When completing the lesson activities, you can hover over the Spanish sentences to view the English translation
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Section 6: Pronunciation Station
Spanish Vowels
Unlike English, where each vowel has many ways in which they can be pronounced, in Spanish, each vowel has only one pronunciation. This makes it a lot easier for a native English speaker to learn how to spell and pronounce Spanish rather than the other way around. Please watch the video provided and then record yourself reading out loud the Spanish vowels. Submit an audio link.
Please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 7: Culture
Greetings Around the World
- Please watch the provided videos and, for each video, share your saludo favorito (favorite greeting).
- Describe each of the saludos favoritos that you chose and include which country each is from.
- Your response can be in English, Spanish or both.
ISSUES ACCESSING THE VIDEOS? If you are having issues accessing or viewing videos, please try a different browser and/or a different device and/or a different wi-fi network. Sometimes there are school-issued computers with security settings that affect access to external platforms such as YouTube.
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
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Additional Resources (Optional)
Spanish Experiment Lesson: https://www.thespanishexperiment.com/learn-spanish/greetings
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Module 2: Let's continue to get to know each other
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (15 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (45 minutes)
- Language Learning Lab (30 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (30 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
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Section 1: Warm-Up
Introduce yourself
Please watch the following video which will showcase some authentic conversation with Spanish from Spain (and other accents as well!) Based on the video, share 2 phrases you learned that were new, interesting or useful for you. Share them in English and Spanish, as audio and text.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 2: Authentic Conversation
Let's continue to get to know each other!
In this discussion, we will continue to get to know each other (in Spanish) with text and audio!
This will be great practice for introductions when meeting others such as students, new friends, co-worker, client, etc.
First, watch the YouTube videos below with more advanced greetings in Spanish and read this lesson from Homeschool Spanish Academy. Based on what you learned from the videos you will submit an original introductory post and respond to the post of others on the appropriate submission area of the course.
PARTE 1: Original Post
- Create/write a brief text introduction of yourself (in Spanish) of at least five (5) sentences.
- Please include some of the sentences you learned from the videos
- After you create your written introduction, create a set of at least three (3) questions (in Spanish) that you might ask a student, new friend, colleagues, etc.
- Record audio of yourself reading your introduction and the questions - all in Spanish.
- Post the text version of your introduction as well as a link to the audio
PARTE 2: Respond to the Posts of 2 other students
- Choose posts from at least TWO other students that you will respond to
- Listen to their audio introductions and read their posts, paying close attention to the questions they ask
- Create an audio recording (in Spanish) where you respond to their questions.
- Post a link to your text and audio response as a Reply to their original post.
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 3: Vocabulary Builder
Opposite words
To increase our Spanish vocabulary may sometimes mean we need to memorize words, phrases, etc. However, this is best done by repetition and by seeing them in context. Nonetheless, we must begin somewhere, and a great place to start is with taking a look at useful antonyms.
With the video in this section, you will access quite a long yet very useful set of vocabulary words that are worth writing down to refer to them later. Therefore, please watch the following video of opposite Spanish words, and based on the video, write a list (handwritten or typed) of the opposite words, in English and Spanish.
NOTE: The list is quite extensive, and it may be easier/quicker (and better for memory retention) to write them by hand as you watch the video and submit a screenshot of your list.
Submit your typed list or a screenshot of your handwritten word list.
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Section 4: Language Learning Lab
Secrets of Learning a New Language
Please watch the video below, and based on the video answer the following questions:
- Based on the video Secrets for Learning a New Language list 3 interesting, surprising or useful strategies to learn a language. List some benefits and potential drawbacks for these strategies.
- Please share your goals for learning Spanish (personal, professional, travel, daily life, etc.)
- Please share your goals for the grade you would like to earn in this class and some ways in which you will achieve those goals.
- Please share how much time per day (or per week) you have to dedicate to the coursework for this class. Do you have enough time to dedicate to the coursework for this class in order to learn and earn a good grade? Explain.
NOTE: Online safety is essential. Never communicate or practice languages with individuals you do not know.
NOTE: Online safety is essential. Never communicate or practice languages with individuals you do not know.
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Section 5: Grammar & Writing
Plurals
Plurals in Spanish are quite simple with few rules to follow. Please visit the SpanishDict lesson provided via the link below to learn about this topic.
- Based on the lesson, in your own words, list the rules to pluralize nouns in Spanish and for each rule, include one sample set of words (singulat and plural version)
- On the lesson page, you will also see examples of plurals displayed in grey boxes. Record audio of yourself reading aloud all the sample plural words and phrases from the lesson. Each sample phrase has accompanying audio that you can listen to by clicking on the speaker icon. Do not forget to submit audio of yourself repeating after the lesson audio OR you do not have to include the lesson audio and can simply record yourself reading the words and phrases.
SPANISHDICT LESSON
If the link above does not work, you can copy and paste the following onto a new tab: https://www.spanishdict.com/guide/spanish-plural-noun-forms#:~:text=Just%20Add%20%2Ds,noun%20to%20make%20it%20plural.
NOTE FOR FIRST TIME SPANISHDICT USERS: You will need to register to the platform using a gmail/google account. There is a free version which has a lot of ads, so watch out for those. If you have the means, the paid version is highly recommended.
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Section 6: Pronunciation Station
Spanish Alphabet
Please watch the video provided and then record yourself reading out loud the Spanish Alphabet. You are welcome to record yourself repeating after the video. Share the audio recording link.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 7: Culture
The difference between Spanish, Latino and Hispanic
In addition to learning the language, it is helpful to also learn about culture. Language and culture are just about inseparable once we step out of the classroom.
Based on the YouTube videos below, please describe, in full sentences and with enough detail and evidence from the videos:
- The difference between Spanish, Latino and Hispanic
- What did you learn about the difference in terms that was most interesting, useful or surprising to you?
- Based on one of the videos, how the U.S. Census helped form the idea of Hispanic culture.
- Why might it be important to be aware of the difference in terms (Spanish, Hispanic and Latino)
- Cite the sources for the information you share (which article and/or videos did you get the information from?)
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
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Additional Resources (Optional)
Module 3: Introducing yourself and others
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (15 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (15 minutes)
- Language Learning Lab (30 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (30 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
| Scroll down to get started with the first section! |
Section 1: Warm-Up
How to introduce yourself
As you know, introductions are an important part of communicating in any language. Based on the video, share 2 phrases that were new, interesting or useful for you from each the video and lesson.
Submit the phrases as text and audio, in English and Spanish.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 2: Authentic Conversation
Introduce youself and others
Being able to introduce yourself and someone else is an essential component in communicating in Spanish. For this assignment, in English and Spanish, as text and audio:
PARTE 1
- Watch the following video and read this lesson from Homeschool Academy (watch out for ads and do not sign up for anything!), and based on the video and lesson, imagine you and a friend are meeting someone new. You may have already read the lesson, but it is a great strategy to review.
- For your original post, create a brief script where you introduce yourself by stating 3 things you might share upon first meeting someone AND 2 things you like to do in your free time.
- Following your own introduction, introduce your friend to the new person you just met. Use some of the phrases you learned from the video to introduce your friend.
- Ask the ‘new person’ (classmate who will be responding to your post) TWO questions you might ask a person you just met
- Post your script as text and include an audio recording of you reading/saying the script (English and Spanish - please check your pronunciation with a tool such as SpanishDict)
PARTE 2
- For your response post, choose the post of at least TWO other students and think of yourself as the new person the student and his friend are meeting. Respond to the posts by answering the 2 questions the students posted (text and audio English and Spanish - please check your pronunciation with a tool such as SpanishDict)
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot (or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 3: Vocabulary Builder
Hobbies and Likes & Dislikes
Hobbies are called pasatiempos in Spanish, although in many Spanish-speaking countries, they are also called hobbies! Knowing how to tell someone what you like to do as far as hobbies and in your free time can be useful and fun.
- Please watch the following videos, and based on the videos, share 3 phrases and/or pasatiempos (from the first video) and 3 phrases about likes and dislikes (from the second video) you learned that were new, interesting or useful for you, in English and Spanish as text and audio.
Note: This Baselang lesson will also help you learn about this topic. As with any external site, please watch out for ads and be cautious of where you click!
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 4: Language Learning Lab
Train your Brain
There are many challenges we are faced with when learning something new. However, for most of us, few of those challenges have to do with the subject matter itself but rather our approach or thoughts. Learn some strategies on how to overcome some of these challenges by watching the video below.
- Based on the video, in English:
- State 3 new, interesting or useful facts you learned about learning. Provide enough details from the video to fully explain.
- Explain how you will use the knowledge/strategies from the video to help you learn Spanish more efficiently.
- Based on your own experience, in English:
- What are the biggest challenges you have faced in this class so far?
- How have you/will/could you overcome them?
- Have your views on your ability to learn Spanish changed since the beginning of the course? Explain.
- Have your views on your interest in learning Spanish changed since the beginning of the course? Explain with enough details to support your answer.
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Section 5: Grammar & Writing
SER and ESTAR
SER and ESTAR both mean "to be" but are used differently. They are essential verbs in Spanish. To get started learning how to use it, start with this Spanish Experiment lesson and the following video, then:
Please visit the SpanishDict lesson provided via the link below to learn about this topic.
Scroll down the page to find the written lesson title 'Explanation', which includes sample sentences displayed in grey boxes. Next, complete the Activity Lessons located at the top of the page. Choose at least 3 lessons you will complete (Choose the 1st lesson and then choose 2 others) and click on each lesson. Provide a screenshot of each completed lesson as evidence of your completion. If you complete lessons at different times, you can submit separate screenshots. If you complete them all at one, you can submit one screenshot that shows they have been completed.
SPANISHDICT LESSON
You will need to scroll down the page to view the 'Explanation' section)
Find Interactive lessons at the top of the page for which you will submit screenshot(s) as proof of completion) Click on each of the lessons to complete.
Note: When completing the SpanishDict lesson activities, you can hover over the Spanish sentences to view the English translation
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Section 6: Pronunciation Station
"C, K, S & Z" Sounds
Learn about (or review) the C, K, S and Z sounds in Spanish (and more!) with the following video. Please watch the video provided and then record yourself reading out loud the vocabulary words that include the specified letter or sound. Additionally, please submit a list of these words in both English and Spanish. Share the audio recording link and provide the written list as well.
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Section 7: Culture
Formal and Informal Speech
To learn about Formal and Informal speech in Spanish, please read over this Spanish Experiment lesson. Then, please watch the provided video and:
- Explain the different Spanish pronouns for YOU and how/when each is used.
- From the video, share two phrases that you found to be new, interesting, or valuable. When relevant, ensure that you include sufficient details and evidence from the video to support your responses. Your submission should include both English and Spanish audio in the form of a link, as well as written text.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
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Additional Resources (Optional)
Ser and Estar Lesson from BaseLang: https://baselang.com/blog/basic-grammar/ser-vs-estar-the-only-guide-youll-ever-need/
Hobbies lesson from Homeschool Academy: https://www.spanish.academy/blog/how-to-talk-about-your-hobbies-and-pastimes-in-spanish/
Introductions and basid conversation from Homeschool Academy: https://www.spanish.academy/blog/how-to-introduce-yourself-in-spanish/
Module 4: Question words
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (15 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (15 minutes)
- Language Learning Lab (30 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (60 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
| Scroll down to get started with the first section! |
Section 1: Warm-Up
Responses to "What's up?"
Would you know how to respond to ¿Cómo estás? in Spanish if you are not doing well or if you feel better than great? Find out with these SpanishDict Lessons which you can also access below.
- Submit a screenshot(s) of the showing proof of completed lessons which are titled: 'Hello', 'What's up' and 'Not much'
SPANISHDICT LESSON
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Section 2: Authentic Conversation
Question Words
Learn the basic question words from the video below and this Spanish Experiment lesson.
Based on what you learned from the video:
- Create one question for EACH of the question words mentioned in the video. Make them questions that you would ask a new friend or someone you know. The questions should be in English and Spanish.
- Post your questions to the Discussion Board in English and Spanish as text and audio (your audio link reading the questions)
- Respond to 2 or more of the questions on the post of at least two other students in English and Spanish as audio and text.
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot (or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 3: Vocabulary Builder
What?
Imagine someone starts speaking to you in Spanish really fast (or using an accent with which you are not familiar). How would you respond? Learn several ways to say "I don't understand" in Spanish with the following video.
- Submit a written list of the 7 ways to say 'I don't understand' in Spanish mentioned in the video along with an audio link of you stating the words.
- Create a list of 5 other 'claryfing' statements or questions you would say to someone if you do not understand what they are saying to you in Spanish along with an audio link of you stating the questions.
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Section 4: Language Learning Lab
Practicing without native speakers
Note: Online safety is essential. Please do not practice any methods/strategies with people you do not know.
- Watch this YouTube video on how a polyglot practices languages without native speakers nearby.
- Based on the video, list and describe the five (5) methods used to help practice the language as they are explained in the video as far as what they are and how they might be helpful.
- Choose TWO of the following methods from the video and put into practice (study/practice your Spanish!)
- SHADOWING
- TALKING TO SIRI
- TALKING TO PETS or
- TALKING TO A NATIVE OR EMERGENT SPEAKER (do NOT practice with someone you do not know. Ask a friend or family member who is willing to speak Spanish with you!)
- As a text submission, list any challenges and successes with the method you chose and explain why/why not you would use this method again.
- Submit some kind of proof that you have implemented and used the method to practice Spanish (audio, video, screenshots, etc.)
Note: Online safety is essential. Please do not practice any methods/strategies with people you do not know.
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Section 5: Grammar & Writing
Regular and Irregular Verbs
Please visit the SpanishDict lesson provided via the link below to learn about this topic. Based on the lesson:
- Complete the first two lessons on the page by clicking on the lesson activity titled Regular Verbs and Irregular Verbs. When done, submit a screenshot showing completion showing the lessons were completed.
- Next, explain the rules of conjugation of regular verbs versus irregular verbs and include the 3 endings of Spanish verbs in the Infinitive. If you need additional information, visit this Preply lesson (as with any external site watch where you click and watch for ads)
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Section 6: Pronunciation Station
"G" Sounds
Please watch the video provided and then record yourself reading out loud the vocabulary words that include the specified letter or sound. Additionally, please submit a list of these words in both English and Spanish.
Share the audio recording link and provide the written list as well.
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Section 7: Culture
Where are you from?
PARTE 1: First, please watch the following video to hear the way in which four individuals introduce themselves and tell us where they are from. (Listen for the different accents!)
- In Spanish as text and audio, state the names and where each of the 4 individuals is from, in full sentences. Example: Susana es de Costa Rica
PARTE 2: Then, please think of the following:
- If you live in the U.S., (for the purpose of the assignment, pretend you ARE from or LIVE IN the U.S. even if not) and you were to state where you live and/or where you are from would you say: 'Soy de America' or 'Soy de los Estados Unidos'?
- Conduct some research to find out WHICH way you should answer this question and explain your findings. Are there differences in the way you would respond on what place in the World the question is asked?
- Share the links where you found the information
- State why it might be important to know this information when working with/meeting individuals from different countries, especially Latin America.
- Submit your answers to the above questions (English, except for when stating the Soy de .... portion of the response!)
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
| Scroll down to continue to the Optional Additional Resources |
Additional Resources (Optional)
Question words lesson from Spanish Experiment: https://www.thespanishexperiment.com/learn-spanish/question-words
Question words lesson from ThoughtCo: https://www.thoughtco.com/asking-questions-spanish-3079427
Module 5: What languages do you speak?
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (15 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (15 minutes)
- Language Learning Lab (30 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (30 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
| Scroll down to get started with the first section! |
Section 1: Warm-Up
What languages do you speak?
Do you know how to ask and answer "Do you speak Spanish?" Learn or review these essential verbs with this one-minute video!
- Based on the video, share 2 new or useful phrases you learned from the video, as audio and text in English and Spanish
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 2: Authentic Conversation
Student Life
Watch a short video below about Student life in Mexico City and based on the video, and your own experience:
- List 2 new, useful or surprising things, facts or phrases you learned from the video (text in English, Spanish or both as needed)
- Describe in at least 5 sentences (In Spanish and English), your life as a student (What classes are you taking? Do you also work? What activities do you participate in at school or outside of school? What do you like best about your school, etc.)
- Record audio of yourself sharing the above.
- Post your written work and audio link
- Respond to the post of at least two other students (Are you as busy as they are? Are you taking the same classes? Is their school life different than yours? etc. - text and audio in both languages.)
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot (or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 3: Vocabulary Builder
Free Rice
For this assignment, you will explore a resource to help you learn Spanish vocabulary and much more: Free Rice
NOTE: If Free Rice is not working or you prefer a different platform, you can use Drops, Memrise, Busuu, or any other free Spanish practice/game platform. Take a screenshot as proof that you completed at least two lessons. Keep in mind that some of these platforms only offer a limited number of free lessons and may require registration, whereas Free Rice does not.
- Visit the Free Rice site and learn/practice Spanish vocabulary while at the same time helping to fight hunger around the World.
- Submit a screenshot once you have gained at least 500 ‘grains of rice’
- Write a statement of whether you were familiar with Free Rice (or whichever other platform you used), is this a resource you might incorporate into your routine to help you increase your Spanish skills. Why or why not?
The 500 points/grains do not have to be earned at the same time - you can take screenshots at different times that show points that add up to 500)
Note 1: You may be asked to input your birthday to 'play' Free Rice, but you DO NOT have to input your actual date
Note 2: If you register to the site, it will keep track of the 'grains of rice' you earn as well as give you more difficult words rather than the same ones over and over.
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Section 4: Language Learning Lab
Do you speak Spanish?
Watch the short video below of students being asked if they speak Spanish at a college campus. Based on the video:
- Would you be able to answer the questions? Some? None? Explain.
- List two questions from the video that would be useful for you to know how to ask and answer. Submit a written list AND audio of you reading/stating the questions (English and Spanish)
- List two responses from the video that would be useful for you to know. Submit a written list AND audio of you reading/stating the responses. (English and Spanish)
- Remember you can slow down the video speed.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 5: Grammar & Writing
Personal Pronouns
Learn about personal pronouns in Spanish with the video below and this article https://www.thoughtco.com/using-subject-pronouns-spanish-3079374 (Note: As with any external resource, please be cautious of where you click and watch out for ads!)
Based on the article:
- List all personal pronouns in Spanish (with their corresponding English pronoun)
Based on the video:
- Do we need to use a personal pronoun in every Spanish sentence? Why or why not?
- Create an example of a sentence with a pronoun and its equivalent without a pronoun, in Spanish (and include the English version)
- Example: (1) Ella corre mucho. (2) Corre mucho. (She runs a lot)
- Write an example sentence for each pronoun from the video (English and Spanish)
- Submit your written list
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Section 6: Pronunciation Station
"J" sound
The "J" sound in Spanish is one of the more confusing for beginner learners. Please watch the video provided and then record yourself reading out loud the vocabulary words that include the specified letter or sound. Additionally, please submit a list of these words in both English and Spanish. Share the audio recording link and provide the written list as well.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 7: Culture
Most useful languages
Hopefully by now you agree Spanish is at least beautiful and fun! But, do you ever wonder if learning languages is all that useful? Even if not, please watch the video on the next page by Drew Binski who has been on a quest to visit every country in the World.
Based on the video:
- List the each of the 'most useful' languages mentioned by the video host. These would be ALL languages mentioned!
- Provide English and Spanish version for each of the languages on the list. You should use a translation app for the Spanish version as needed.
- Based on the video, list the 2 reasons we must learn a few basic phrases of the language of the country we are visiting (or if we are around individuals from specific countries)
- State where you got the information (sources) to answer the questions above.
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
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Additional Resources (Optional)
Countries, languages and nationalities in Spanish from Berlitz: https://www.berlitz.com/blog/countries-nationalities-languages-spanish
Module 6: Routines
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (15 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (15 minutes)
- Language Learning Lab (60 minutes)
- Grammar & Writing (30 minutes)
- Pronunciation Station (15 minutes)
- Culture (30 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
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Section 1: Warm-Up
Notions of time
Please take 3 minutes to explore how bilinguals perceive time differently. You will be glad you watched!
Based on the video, state 3 new, interesting or useful facts you learned about languages and time, etc. Provide enough details from the video to fully explain.
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Section 2: Authentic Conversation
Routines
Watch the following videos about daily routines and read this lesson from Homeschool Spanish Academy.
- Based on what you learn from the videos and lesson about daily activities and their timing (as well as any research you may want to conduct) share a schedule of a typical day for you (in Spanish and English) from the time you get up until you go to sleep.
- Your schedule should include at least 10 items and should include the time (in words for the Spanish version) as well as both the English and Spanish version of the schedule item. Submit text and audio schedule.
- Feel free to use any translation tools you need, but please state the tool you used.
- Also, record yourself reading your schedule.
- You DO NOT have to respond to the posts of others but are encouraged to read and listen to them.
- Please submit your routine in English and Spanish as text and audio.
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot (or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 3: Vocabulary Builder
Numbers
Learn the Spanish numbers from 0-100 with the lesson below. Record yourself reading the numbers and submit an audio link AND/OR you may choose to complete the two interactive lessons (0-20 and 21-100) and submit a screenshot(s) as proof of completion.
SPANISHDICT LESSON: https://www.spanishdict.com/guide/numbers-in-spanish-0-100
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 4: Grammar & Writing
Telling time and Days of the Week
Telling Time
- Visit this SpanishDict lesson to learn, read and listen about how to tell time in Spanish.
- Then, record yourself repeating EACH of the time phrases included in the lesson that have the speaker icon.
- Submit your audio recording link. Note that to pronounce each phrase properly, you will first need to listen to the pronunciation which you will do by clicking on the speaker icon.
- Make sure to scroll all the way down the webpage lesson so you record ALL time phrases/sentences in the lesson. The phrases will be in grey boxes and have a speaker icon.
- For your recording, it is OK to also record the SpanisDict audio followed by yours.
SPANISHDICT LESSON - TELLING TIME
Days of the week
- Visit this SpanishDict lesson to learn, read and listen to the days of the week and related phrases.
- Then, record yourself repeating EACH of the vocabulary words, phrases and sentences about days of the week included in the lesson. They will be in sections with grey boxes and have a speaker icon.
- Submit your audio recording link. Note that to pronounce each phrase properly, you will first need to listen to the pronunciation which you will do by clicking on the speaker icon.
- Make sure to scroll all the way down the webpage lesson so you record ALL day-related words or phrases/sentences in the lesson.
- For your recording, it is OK to also record the SpanisDict audio followed by yours.
SPANISHDICT LESSON - DAYS OF THE WEEK
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Section 5: Language Learning Lab
Translate Using Context
For this assignment, you will try out translating first WITHOUT help and then WITH the help of online resources. The goal here is NOT to have a perfect translation but to give you a sense of translating by using context. You will first read the text below on this page. Then:
1. Translate the text to English WITHOUT using any apps - title this translation NO APP TRANSLATION (remember the goal is not an accurate translation!)
2. After you translate on your own (without an app) Create a list of 10-20 words that you did not know and translate them using any of the resources you have (DeepL, SpanishDict, etc. - extend beyond Google Translate) - TYPE YOUR LIST IN BOTH LANGUAGES and title this translation NEW WORDS
3. Return to original and translate again. Did the translation get better? Explain.
4. Now, copy and paste (or type) the original Spanish text into translator app and compare YOUR TRANSLATION with the APP translation. Title this new translation APP TRANSLATION
5. Compare translations - how close was your translation to the APP translation? Yours might be more accurate than the app, do you think so?
- Submit ALL written translations, New Words list, etc. all properly labeled as per the instructions above AND:
- Share how this process went for you: (1) How long did it take?
- How accurate was your initial translation?
- How did the translation improve after you increased your vocabulary by looking up the words?
- Was this activity challenging? Simple? Fun? Useful? Explain.
Translate the following:
¡Hola! Me llamo Valeria y tengo quince años. Vivo en un apartamento en Buenos Aires con mi papá. Cada mañana me despierto a las siete y media, me levanto y voy a la cocina a tomar mi desayuno. Normalmente, tomo un vaso de jugo con cereal o pan con queso. Después, me visto, me lavo los dientes, reviso mi mochila y salgo hacia el colegio. Suelo ir caminando porque está cerca de mi residencia. Las clases comienzan a las 8:30 y terminan a las 2 de la tarde. Por la tarde, hago mis tareas y estudio para los exámenes. Los martes asisto a clases de natación y los viernes a clases de portugués. Mi papá y yo generalmente cenamos a las ocho y media. Después de la cena, a veces vemos una película o leemos un libro. Me acuesto a las diez y media.
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Section 6: Pronunciation Station
"H" Sound
Learn about (or review) the “H” sound in Spanish (and more!) which will help you ask questions such as ¿Qué hora es? Please watch the video provided and then record yourself reading out loud the vocabulary words that include the specified letter or sound. Additionally, please submit a list of these words in both English and Spanish. Share the audio recording link and provide the written list as well.
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Section 7: Culture
Routines in Spain
An interesting part of daily routines in Spain is the siesta. Watch the following video, and based on the video, and in Spanish and English, as audio and text:
- Explain the concept of a siesta and how you feel about it!
- Explain sobremesa, and how that may (or may not differ) how you approach the end of a meal with family and friends.
- Please provide enough details and evidence from the video as well as your own thoughts.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
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Additional Resources (Optional)
Spanish Experiment lesson: https://www.thespanishexperiment.com/learn-spanish/telling-time
Reflexive verbs: https://www.berlitz.com/blog/reflexive-verbs-spanish-conjugation
Module 7: Food and shopping
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (15 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (15 minutes)
- Language Learning Lab (60 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (60 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
| Scroll down to get started with the first section! |
Section 1: Warm-Up
Food
Please watch the following video, and based on the video, share 3 food words and 3 full sentences (or questions) you learned that were new, interesting or useful for you, in English and Spanish, as audio and text.
Note that the video is entirely in Spanish which will be great listening practice, but you can always turn on the English subtitles.
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Section 2: Authentic Conversation
At the restaurant
A common place we visit at home or when traveling is a restaurant, so knowing how to order food in Spanish can be helpful. To learn more about ordering food, watch the following videos.
Based on the conversations from the YouTube Playlist videos you will:
PARTE 1
- From each video, choose 2 phrases which would be helpful for you to know.
- You will use the phrases in the next Part (PARTE 2)
PARTE 2
- Create a short script of a conversation of two or more people where you are at a restaurant/work dinner, etc. Incorporate the 4 phrases from PARTE 1 into the script. The character pairs could be:
- you and a friend/colleague about to order at a restaurant/function/banquet, etc.
- you and a waiter/waitress
- The script should consist of at least 10 lines (5 for each of the characters speaking) and it should be in Spanish and English
- Record the audio for the script. You can play the voice for both 'characters' in the recording or you can have a friend or family help you record by playing the second character.
- Post your script. You do not have to but are encouraged to read, listen and respond to the posts of others.
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot (or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 3: Vocabulary Builder
Food and more food!
Whether at home, school, work or travel, we all have to eat! To increase your vocabulary of food items, click on the lesson below to access SpanishDict quizzes where you will learn some food-related vocabulary. Take at least 2 quizzes and submit screenshots of completed Quizzes as proof of completion.
SPANISHDICT FOOD-RELATED QUIZZES
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Section 4: Language Learning Lab
De compras (Shopping)
No matter where you are, at some point you will have to go de compras (shopping), especially for comida. You will learn more about how to do this in Spanish with this lesson.
- First, watch the following video about shopping which will also give you some great listening practice. Then, answer the 'quiz' questions that were included in the video.
- Submit a list of 20 palabras (words) from the video which were new or useful for you (English and Spanish - text and audio)
- Submit the video quiz questions AND your responses (WRITTEN IN FULL SENTENCES) in English and Spanish - text and audio.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 5: Grammar & Writing
Direct Object Pronouns and Ser y Estar
PARTE 1: Direct Object Pronouns
Please visit a SpanishDict lessonwhich you can access below to learn about Direct Object Pronouns
Complete the first four clickable activities/lessons. Submit a screenshot(s) as proof of completion
SPANISHDICT LESSONS
PARTE 2: SER y ESTAR
Let's re-visit these essential verbs both of which mean "to be" but are used in different contexts.
Test your SER and ESTAR skills with the quiz in the video below.
- Watch the video, and for each question, write down the FULL sentence that represents what you believe the correct answer. Useful Hint: Write them out by hand.
- Then, find any method to figure out if your answers were correct or not. (translation app, friend, SpanishDict, the answers provided by the video author in the Description box, etc.)
- Record audio of yourself reading the correct version of each sentence answer.
Submit:
- The written original answers sentence list (it does not matter if they were wrong!)
- Audio link
- State how many answers you got correct and what method(s) you used to check.
Submit your work as a Word or PDF document in the appropriate assignment submission area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.)
When applicable: Please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio or Screencast-o-matic to record videos, and share the link.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation.
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Section 6: Pronunciation Station
"CH" Sound
Please watch the video provided and then record yourself reading out loud the vocabulary words that include the specified letter or sound. Share the audio recording link.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 7: Culture
Translating a Recipe
Learning about Latin recipes is a fun way to learn about the culture and increase our language skills. For this assignment, you will watch videos about popular recipes of Latin America and then choose and translate one.
Based on the videos:
- Choose one of the dishes and find a recipe for it through an internet search.
- Translate the recipe into English (if originally in Spanish) or Spanish (if originally in English).
- As a SLIDES PRESENTATION share the recipe (including ingredients, directions, etc.) in both languages along with an image that represents the dish. Even if you copy and paste, please make sure you do so neatly and in a manner that the ingredients and recipes can be easily followed in both languages.
- The SLIDES PRESENTATION should include your name and date on the first slide
- Record yourself reading the recipe (including list of ingredients) in both languages
- Hint: It will be easier, and better for learning, if you alternate English and Spanish line by line rather than reading the entire recipe in one language and then the other.)
- Optional but encouraged: If you are able to AND interested in AND have time for, you could actually cook the dish and share your images as well as details of your experience here!
- Submit the SLIDES PRESENTATION along with your audio link(s). If you prefer, you can also submit in video form as a link to a Published video.
NOTE 1: You may want to try to translate the recipe on your own, but to ensure proper grammar, spelling, etc. do use a translation platform to check your work before you turn it in. Please extend beyond Google Translate and use SpanishDict Translation or DeepL.
NOTE 2: When submitting your slides or other types of presentations, you have a few options:
- Google Slides – Copy and paste the link to your presentation onto the Module document you submit.
- Canva Presentation – Copy and paste the link to your Canva presentation.
- PDF File – Upload your presentation as a PDF file (this ensures audio links remain accessible).
- Video Format – If it makes sense for your project, you can create a video from your slides and submit a working link to the published video.
Submit your work as a Word or PDF document in the appropriate assignment submission area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.)
When applicable: Please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio or Screencast-o-matic to record videos, and share the link.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation.
.
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
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Additional Resources (Optional)
Useful words for cooking and eating from FluentU: https://www.fluentu.com/blog/spanish/spanish-food-words/
Module 8: Spanish for travel
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (15 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (15 minutes)
- Language Learning Lab (30 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (90 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
| Scroll down to get started with the first section! |
Section 1: Warm-Up
The Spanish you need for vacation
Learn some useful Spanish phrases for travel or everyday life with the video below.
- Based on the video, choose 3 phrases that were new, interesting or useful for you. Please avoid the more 'basic' phrases such as hola, por favor, etc.
- Create 2 phrases (not from the video) that you feel would be useful for you for travel to a Spanish-speaking country.
- Submit a written list and audio of you reading the phrases in English and Spanish.
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Section 2: Authentic Conversation
Travel Phrases
Knowing Spanish travel phrases is essential in communicating in Spanish even if you are not travelling, since you may want to help someone visiting your area. For this assignment, in English and Spanish, as text and audio:
Parte 1
- Read this StoryLearning lesson and watch the following video, and based on the video and lesson, imagine you and a friend are in a new place (for work, school or travel)
- For your original post, create a brief script where you greet someone and then ask three questions that you and your friend might ask someone when you travel. Post this script in English and Spanish, as audio and text.
Parte 2
- For your response post, choose the post of at least TWO other students and think of yourself as the person the student and his friend are asking questions to. Respond to the posts by answering all questions the students posted (text and audio English and Spanish) You will likely need to 'make-up' the answers!
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot (or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 3: Vocabulary Builder
Asking for directions
Would you know how to ask for and give directions in Spanish? Find out with this Spanish Experiment lesson which you can also access by clicking below as well as the video.
- Based on the lesson or video, share as text 5 of the phrases/sentences (not single, individual words with no context) that would be most useful for you to commit to memory (in English and Spanish) and explain how these phrases would be useful for you.
- Based on the lesson or video, record audio of yourself reading ALL of the example sentences (in English and Spanish) from the grey boxes on the lesson page (OR if from the video, all the video phrases). Notice you can hear the pronunciation by clicking on the 'play' triangle icon. Submit audio link of your reading the list in English and Spanish.
SPANISH EXPERIMENT LESSON
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Section 4: Language Learning Lab
One Simple Method
Note: Online safety is essential. Please do not practice any methods/strategies with people you do not know.
Curious as to how others learn languages most efficiently and while enjoying the process? Even if not, please watch the following video (running time of about 16 minutes). You will be glad you did!
Based on the video:
- Share what strategies or facts about language learning were new, most surprising or most useful to you. (at least 3)
- Share how OR if you plan to continue learning Spanish on your own. Maybe you will learn a different language? Which one(s)?
- Did the video inspire you to do something different in the way you approach language learning? Why or why not? Explain
- Provide enough detail from the video as well as your own thoughts and opinions.
Note: Online safety is essential. Please do not practice any methods/strategies with people you do not know.
Submit your work as a Word or PDF document in the appropriate assignment submission area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.)
When applicable: Please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio or Screencast-o-matic to record videos, and share the link.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation.
Note: Online safety is essential. Please do not practice any methods/strategies with people you do not know.
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Section 5: Grammar & Writing
Prepositions
Prepositions hold a privileged position as parts of speech in that they are a 'closed class'. While prepositions are limited in number, they are important because they act as vital markers to the structure of a sentence; they mark special relationships between persons, objects, and locations. You will now, begin learning some prepositions in Spanish but keeping in mind, that their uses might be multiple and/or might change depending on context. Nonetheless, it is important to become familiar with these useful palabras.
Go to the SpanishDict vocabulary page and complete one or more prepositions quizzes.
SPANISHDICT PREPOSITIONS QUIZZES
Please submit screenshots of each completed quiz as proof of completion in the appropriate submission area.
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Section 6: Pronunciation Station
"R" Sound
Learn about (or review) the “R” and "RR" sound in Spanish (and more!) with the following video.
Please watch the video provided and then conduct some research and find 5 Spanish words that contain the letter 'R'.
Please submit a list of these words in both English and Spanish. Share the audio recording link and provide the written list as well.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 7: Culture
¿A dónde debo ir? (Where should I go?)
Watch the following video below which will highlight the 21 Best Places to Visit in South America to learn about different places one might visit, authentic conversation and asking questions:
PARTE 1
- List the 21 places mentioned in the video
PARTE 2
- From the video, choose one place you would like to visit if you could, and conduct some research about the place you chose and write a brief summary about it (country, description, why is this place significant, etc.) (in Spanish and English)
- Find and share at least ONE image for the place
PARTE 3
- Create a list of at least THREE questions and THREE phrases (Spanish and English) that would be essential for you to know in Spanish if you were to visit these places
- Record yourself reading the phrases and questions in both languages (Watch out for any places in Brazil as they speak Portuguese! If you choose a place in Brazil, still complete your phrases in Spanish.)
- Add the written phrases and audio link to your submission
Submit your work as a Word or PDF document in the appropriate assignment submission area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.)
When applicable: Please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio or Screencast-o-matic to record videos, and share the link.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation.
NOTE: Video runnung time is over 20 minutes, but it is well worth it!
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
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Additional Resources (Optional)
Just Learn Lesson: 15 Most Common Prepositions
Travel Phrases from FluentU: https://www.fluentu.com/blog/spanish/spanish-travel-phrases/
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Module 9: Talking about the Weather
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (15 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (15 minutes)
- Language Learning Lab (30 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (30 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
| Scroll down to get started with the first section! |
Section 1: Warm-Up
Weather
Please watch the following video, and based on the video, share 3 phrases about weather you learned that were new, interesting or useful for you, in English and Spanish, as audio and text.
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Section 2: Authentic Conversation
How's the weather?
Did you know that often, when there is conversation about the weather takes place in Spanish, the word tiempo (which literaly means 'time') is used? You might recall that when asking about the actual time (clock time), the word hora (hour) is used, and now you will see how the word tiempo can be used for weather!
Learn about Weather expressions in Spanish (which use the important verbs SER, HABER and HACER) with the lesson below and based on what you learn from the lesson:
- Create a post that tells us what the current weather is like right now where you live and your favorite type of weather. Choose an image that represents your favorite weather (or related)
- Also, post a weather-related question that you would ask a friend or relative with whom you have plans in your area or who you may visit in a different area.
- Post the statements and questions as text and audio, in English and Spanish.
- Respond to the questions of at least one other student's post, also as text and audio in both languages.
Don't forget to include an image related to the weather you talked about in your original post!
SPEAK BETTER SPANISH LESSON (Ignore any sales aspect of the site and watch out for ads and be cautious where you click)
If the link above does not work, you can copy and paste the following onto a new tab: https://speakbetterspanish.com/how-to-talk-about-the-weather-in-spanish/
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot (or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 3: Vocabulary Builder
Muy and Mucho // Bien and Bueno
Sabes (do you know) the difference between MUY and MUCHO or BIEN and BUENO? Find out in about 5 minutes with the following Babbel videos! Based on the videos:
- Explain the difference AND share one sentence from the video using MUY and one sentence using MUCHO (Spanish and English - audio and text)
- Explain the difference AND share one sentence from the video using BIEN and one sentence using BUENO (Spanish and English - audio and text)
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Section 4: Language Learning Lab
Listening using context clues
Let's practice listening and comprehension skills.
- First, watch both of the videos below and then CHOOSE ONE for this assignment. Watch them all in Spanish and DO NOT worry about understanding much at this time.
- Watch the video you chose again without any subtitles. Listen for words, phrases you recognize and use context clues and take notes by hand as you watch because you will write a summary later. You can stop and start the video as needed, but play it only in Spanish. LATER, YOU CAN TURN ON THE AUTO-TRANSLATE CAPTIONS, BUT THE FIRST TIME, PLEASE DO NOT USE THE ENGLISH CAPTIONS. HOWEVER, YOU CAN USE THE SPANISH SUBTITLES/CAPTIONS!!!
- Then, write a short summary of the video, by hand (in English). If you are a beginner Spanish speaker, your summary will be limited, and that is OK!!!
- Keep the summary and notes (the notes should be hand-written!) so you can compare it to the actual video content.
- Now, re-watch the video, but this time, click on the CC icon at the bottom-right of the video screen, and you will see the captions in English.
- Read the captions as you watch again and when done, compare the actual video content to your summary. How close were you? How much were you able to understand initially? What strategies did you use to understand?
- Submit your initial hand-written summary and handwritten notes (upload photo, image of you summary sheet), answers to the above questions and share how this experience went for you? Simple? Challenging? Frustrating? What did you learn?
NOTE: If you cannot access Subtitles/Auto Translate try a different device (not a tablet or cell phone)
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Section 5: Grammar & Writing
Verb HACER
Hacer is an interesting verb that means both “to do” and “to make.” It's also irregular and one the most common verbs in Spanish. You use it in many situations including doing your homework, making cakes, talking about the weather, or discussing your hobbies, to name just a few.
Please visit the SpanishDict lessons provided via the links below to learn about this topic.
Scroll down the page to find the written lesson title 'Explanation', which includes sample sentences displayed in grey boxes. Record audio of yourself reading aloud all the sample sentences and phrases from the lesson's 'Explanation' section. Each sample sentence has accompanying audio that you can listen to by clicking on the speaker icon. Feel free to submit audio of yourself repeating after the lesson audio.
Next, complete the Activity Lessons located at the top of the page. Provide a screenshot(s) of each completed lesson as evidence of your completion. If you complete lessons at different times, you can submit separate screenshots. If you complete them all at one, you can submit one screenshot that shows they have been completed.
SPANISHDICT LESSON - HACER (TIME EXPRESSIONS)
You will complete the 1st lesson by clicking on the 'Useful Expressions' title
SPANISHDICT LESSON - HACER (WEATHER EXPRESSIONS)
Please complete ALL 3 lessons
- Note: When completing the lesson activities, you can hover over the Spanish sentences to view the English translation
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Section 6: Pronunciation Station
"LL" Sound
Learn about (or review) the “LL” sound in Spanish (and more!) with the following video. Please watch the video provided and then record yourself reading out loud the vocabulary words that include the specified letter or sound. Additionally, please submit a list of these words in both English and Spanish. Share the audio recording link and provide the written list as well.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 7: Culture
Geography and Culture
Do you think Geography affects culture? Does geography affect climate and does climate affect culture? Can it affect language? Is the Spanish language affected by the geography of its countries? To get you started answering these questions, watch the fascinating video below about the geography of South America and then think about these questions. The video will not answer the questions but will show you some interesting facts about the Geography of South America so you can try to come up with some theories of the Geography and Culture connection.
Please disregard any 'sales' aspect of the video which begin at 5 min 30 seconds mark.
Based on the video, in English (and Spanish as well if you would like the practice):
- List 3 new, useful or interesting facts you learned from the video.
- How do you think the geography of South American countries shapes each country's culture and language? Explain this in your own words, providing enough detail to show that you have thoughtfully considered your response. Feel free to conduct additional research to support your explanation, as the video will not provide an opinion on this topic. Avoid using "circular" reasoning, such as statements like, "South American countries influence their culture and language because they are different countries and therefore affect one another." Please do not use Artificial Intelligence tools like ChatGPT to write your response. Base your answer solely on the information you gained from the video and your own research or reflections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work. INCLUDE YOUR FULL NAME IN THIS SPECIC STATEMENT IN BOLD.
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Additional Resources (Optional)
Lesson about the weather from The Spanish Experiment: https://www.thespanishexperiment.com/learn-spanish/weather
Geopraphy of South America by National Geographic: https://education.nationalgeographic.org/resource/south-america-physical-geography/
Module 10: Spanish for Work
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (30 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (45 minutes)
- Language Learning Lab (30 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (60 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
| Scroll down to get started with the first section! |
Section 1: Warm-Up
Dates in Spanish
Learning how to tell and understand dates in Spanish is helpful and a great way to learn or review numbers, days of the week, months and how to state large numbers, since unlike English where we can divide up the year as 20-23 (twenty-twentythree), the year in Spanish is spelled out completely as a number in the 1000's.
Please watch the following video to learn more, and based on what you learned from the video, share the following dates written fully (not abbreviated) in Spanish. This means the date should have the day number, month and year.
Submit as text and audio in English and Spanish:
- Today's full date (day, number, month and year) DO NOT ABBREVIATE AS IN 11/1/2001 - write out the full dates as words as this example shows: Dos de octubre de dos mil venticuatro)
- Your birthdate (day number and month) DO NOT ABBREVIATE AS IN 11/1/2001 - write out the full dates as words)
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 2: Authentic Conversation
Spanish for your Profession
Estimated time to complete this lesson: 60 minutes
For this assignment, you will conduct some research and find a video showcasing Spanish being spoken in your current or future profession in context.
For example, if you are going to be a teacher, find a video of a teacher in a Spanish speaking classroom. If you are going to be a nurse, find a nurse speaking Spanish to a patient or teaching non-Spanish nurses how to communicate in Spanish in a medical setting.
- Post the video and your reasons for choosing it.
- Choose at least one classmate's post and watch their video. Share 2 facts or Spanish phrases you learned from their video.
Below is such as example for the profession of engineer (ingeniero)
Sample student reasons/explanation for choosing the video
I chose this video because I am studying to become an engineer. This video shows an engineer who teaches engineering and in the video, he describes the intersection between engineering, technology and how these can be used to solve global problems. I also chose it because it is a TedX video which indicates it is from a credible and appropriate source.
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Section 3: Vocabulary Builder
Cognates
Cognates are pairs of words that sound alike and have the same meaning in two different languages. They are useful first steps in learning a new language. Spanish and English share hundreds of cognates and have borrowed from each other for centuries. These can be very helpful for professions, especially when the cognates have Latin or Greek roots.
Please watch the following video about cognates which will also help you complete this assignment. (Note: the video has an error with the cognate for 'delicious' - in Spanish, it is delicioso!) Interestingly, a lot of the Spanish words for professions are English cognates such as doctor, artista, profesor and many more.
Based on your current or future situation(s), conduct some research and find 10 cognates that would be useful to know for your profession or your daily life or your school life, your sports life, etc.
- State the cognate rules from the video.
- State your profession and/or major or chosen situation (in Spanish and English)
- Submit a list of 10 cognates in Spanish and English that would be useful for your current or future career.
- Please do not simply find an alphabetical list of cognates on the internet and copy and paste straight from the list. Instead, take some time to go through the list and find cognates that would truly be useful for you.
- Explain how/why the cognates you chose would be useful to know in your profession. This can be a general statement, and you do not have to explain each cognate.
- Submit an audio recording link of you stating the cognates (English and Spanish)
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 4: Language Learning Lab
Tell me about yourself
One type of question that you can almost count on during a job interview is 'Tell me about yourself' roughly translated to Háblame de ti.
This question allows the interviewer to hear a short, summed up version of your background and skills, and it gives them insight into what experience and qualifications you think are most relevant to the position you’re interviewing for.
Read the article below (it is in English) and watch the Spanish video below. The Spanish video will give you great listening practice for Spanish as it is spoken in the Caribbean, specifically Puerto Rico.Remember you can turn on the captions/subtitles and use the Auto-Translate function in YouTube.
The other video is in English, and you are encouraged to watch it, but it is not necessary.
- Based on the first video, share 2 new, useful or interesting phrases you learned. List them in English and Spanish as audio and text.
- Based on what you learn from the videos, article or any research you conduct, list 3 different ways in Spanish that you could be asked the question "Tell me about yourself" at a job interview. List them in English and Spanish as audio and text.
- Optional: Think of how you would answer this question in English or Spanish! You are encouraged to create a one-minute audio response to Háblame de ti as though you were in an actual interview!
NOTE: As you will see/learn from the resources below, this interview question is NOT the time to talk about your personal life but rather to present to the interviewer your professional background and what you 'bring to the table' (how would the company benefit from hiring you)
Submit your work as a Word or PDF document in the appropriate assignment submission area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.)
When applicable: Please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio or Screencast-o-matic to record videos, and share the link.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation.
Article
INDEED ARTICLE: HOW TO ANSWER 'TELL ME ABOUT YOURSELF'
Videos
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Section 5:
Grammar & Writing (Note: There are 2 parts to this section)
PARTE 1: Writing sentences in Spanish
Learn (or review) sentence construction and increase your vocabulary with the video below. Based on the video, notice the 'typical' construction of a sentence in Spanish. Also, choose 5 sample sentences that were new or interesting for you. Write them by hand (English and Spanish) and submit a screenshot of your handwritten list.
PARTE 2: Writing a Cover Letter
Now that we have learned how to answer the "Tell me about yourself" job interview question and you have some experience with sentence construction, let's practice writing skills in Spanish with a Cover Letter for an ideal job you would apply for.
- First, read the article from ThoughtCo and learn more about formal Spanish for business communications with the video below. Notice the greetings and closings which are different (and many not have a literal translation between English and Spanish.
- Based on the article, list 1 formal and 1 informal greeting that can be used in a letter (Spanish with English equivalent)
- Based on the article, list 1 formal and 1 informal closing that can be used in a letter (Spanish with English equivalent)
- Conduct a search on jobs of interest to you and choose one job posting that you would apply to. Then, watch the video below and learn about writing formal letters in Spanish such as job application letters.
- Using what you learned, write a cover letter in Spanish (with an English version) applying for the job. Record audio of you reading the letter.
- SUMMARY OF WHAT YOU WILL SUBMIT:
- Submit list of greetings and closings from article
- Submit your letter as a document in both languages. Include proper formarting (as though it were an actual letter - you can submit as a separate document) and make sure to include proper greetings, closings and the proper date in Spanish.
- Submit an audio recording of you reading the letter in English and Spanish
- Include the job posting title and link for the job for which you created the application letter.
- SUMMARY OF WHAT YOU WILL SUBMIT:
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Section 6: Pronunciation Station
"N" And "Ñ" sound
Please watch the video provided and then record yourself reading out loud the vocabulary words that include the specified letter or sound. Additionally, please submit a list of these words in both English and Spanish. Share the audio recording link and provide the written list as well.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 7: Culture
Ideal Jobs
As we get closer to the end of the course, we should look into how Spanish fits in with your current and future professional career or job plans. It may be interesting to note that the word trabajo can be the 1st person conjugation in the present tense for trabajar ("to work") but also it can be the noun for 'job'.
Watch the video below with authentic talk about professions and ideal jobs.
Based on the video:
- Share three (3) jobs, careers or professions words from the video that were new or interesting or useful for you to know about (submit as text and audio in English and Spanish)
- Share your current or future profession/career/field/job as audio and text (submit as text and audio in English and Spanish)
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
Additional Resources (Optional but encouraged!)
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
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Additional Resources (Optional)
How to write a letter in Spanish: https://www.fluentu.com/blog/spanish/writing-letters-in-spanish/
Module 11: Feelings and more
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (30 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (30 minutes)
- Language Learning Lab (30 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (30 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
| Scroll down to get started with the first section! |
Section 1: Warm-Up
Feelings
Learn and practice how to express 'sensations/feelings' such as hunger, thirst and more.
Please watch the video below and:
- Share 3 new, interesting or useful full sentences you learned from the video about expressing how we feel, in English and Spanish, as text and audio.
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Section 2: Authentic Conversation
To have to do something
Tener que and Hay que are phrases that indicate something needs to be 'done'. Learn more with the video below and this lesson from BaseLang.
- Based on what you learn, create 1 statement using HAY QUE and 1 statement using TENER QUE (you can conjugate TENER to 1st, 2nd or 3rd person) about tasks that NEED to be completed (by you or someone else) for school, home or work.
- Post your statements in English and Spanish as audio and text.
- Please respond to the post of at least one other student stating whether you 'want to' or are 'able to' complete whatever 'tasks' the student stated need to be completed. Respond with text and audio in English and Spanish.
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot (or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 3: Vocabulary Builder
Expressing feelings
TENER means "to have" but can be used in many other ways and common Spanish expressions and ESTAR means to be but can also be used in other expressions. These expressions will be explored with this BaseLang lesson as they pertain to emotions and how we feel. Please visit the lesson provided via the link below to learn about this topic.
Read over the lesson, and then scroll down the page to find the sections titled:
Using Estar and Tener
Common Spanish idioms with Estar
Common Spanish idioms with Tener
Estar
Tener
Verb Sentir + Reflexive Pronouns
Copy and paste the phrases/sentences and record audio of yourself reading aloud all sample sentences and phrases from the sections (including the 'incorrect' versions - this is so you get the speaking practice).
- Submit text list and audio link.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 4: Grammar & Writing
More Verb TENER (Note: There are 2 parts to this section)
PARTE 1: TENER for age
Even though tener is the verb for 'to have'. It is also used to talk about age (as in 'How old are you?'
Learn more with the short video below, and based on the video:
- Explain what is means that 'in Spanish, age is expressed as a possessive'.
- Share 3 age-related sentences from the video, in English and Spanish as audio and text.
PARTE 2: TENER practice
Complete the Activity Lessons located at the top of the page. Choose at least 2 lessons you will complete (choose the 1st lesson and then choose 1 other) and click on each lesson to complete. Provide a screenshot of each completed lesson as evidence of your completion. If you complete lessons at different times, you can submit separate screenshots. If you complete them all at one, you can submit one screenshot that shows they have been completed.
SPANISHDICT ACTIVITY
Interactive lessons at the top of the page for which you will submit screenshot(s) as proof of completion) Click on each of the lessons to complete.
- Note: When completing the lesson activities, you can hover over the Spanish sentences to view the English translation
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Section 5: Language Learning Lab
Forming questions
Turning a statement into a question in Spanish is simple! Watch this video lesson to learn how we can turn a statement into a question in Spanish without having to change the words or word order.
Based on what you learn from the video:
- Explain the 3 ways in which we can form questions in Spanish
- Now, refer back to the statments using TENER QUE and HAY QUE from the previous Authentic Conversation section. Re-write your statements as questions. Submit both sets (statements and questions) as text and audio in both languages. Effective synthesis of structured ideas enhances comprehension and retention. Make sure to change your tone so it is evident which one is a statement and which one is a question!
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Section 6: Pronunciation Station
Opposite words
You may recall a handwritten list of antonyms based on a video in a previous sectionn. Now, you will re-visit those vocabulary words again, but this time, you will record audio of yourself repeating the words while the video plays. Play the video, and repeat the words after you hear them. Submit an audio link.
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Section 7: Culture
Don't do this in Mexico
Please watch the provided video and:
- Share two facts that you found to be new, interesting, or valuable.
- Also, share your thoughts on the use of YES to mean NO (around the 5-minute mark) and how that compares to how you respond to an invitation that you do not feel like accepting (or cannot accept)
Your submission can be in English, Spanish or both as written text.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
| Scroll down to continue to the Optional Additional Resources |
Additional Resources (Optional)
How to express feelings and emotions from Homeschool Academy: https://www.spanish.academy/blog/50-feelings-and-emotions-in-spanish-expressions-vocab-and-grammar/
Module 12: Emergencies
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (15 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (15 minutes)
- Language Learning Lab (30 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (30 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
| Scroll down to get started with the first section! |
Section 1: Warm-Up
La policía
Please watch this short video to learn/review Spanish greetings and basic "criminal emergency" phrases in an unusual way: a funny sketch based on the genre of a Spanish telenovela (TV soap opera).
- Based on the video, list 3 different, full phrases you learned or that are interesting or useful for a beginner speaker or for yourself (as audio and text, in Spanish and English)
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Section 2: Authentic Conversation
Emergency Phrases
Whether it is for travel, daily life or work, it is important to know Spanish phrases for emergencies.
Watch the following video for a few basic emergency phrases.
- List FIVE emergency words/phrases you learned from the video
You will find the video is not enough for all the possible emergencies one might encounter or the most likely ones depending on the situation.
- Therefore, please conduct some research and find:
- ONE video to help you learn phrases for emergencies in Spanish.
- ONE website or online resource to help you learn phrases for emergencies in Spanish.
- Share the resource(s) and explain how each would be helpful.
- Please respond to the post of at least one other student by visiting the links they provided and commenting on the usefulness of the video/resources/websites they shared AND two (2) new emergency words/phrases (English and Spanish versions) you learned from the resources shared in the post you responded to.
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot (or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 3: Vocabulary Builder
Emergency words and phrases
Click HERE to access a Quizlet set of flashcards. Choose any mode to practice and share a screenshot showing completion.
If the link above does not work, copy and paste the following onto a new tab: https://quizlet.com/387639223/practical-spanish-emergency-wordspalabras-de-emergencia-flash-cards/?i=e5fdo&x=1jqt
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Section 4: Language Learning Lab
Shadowing Practice
You will now use an engaging method to help your Spanish skills: Shadowing. Unlike the Repeating method where you listen to a word or phrase and repeat after it, with Shadowing, you try to speak at just about the same time as the speaker. This is not unlike singing along with your favorite song, and it helps you with the mechanics, rate of speech and intonation of language as it is spoken. So you may or may not have heard of the method of Shadowing as a strategy to increase your fluency in Spanish (or any language), but if not familiar with this method of increasing your Spanish fluency, this video will explain what it is. Shadowing is sometimes difficult for beginners, but for this assignment, do give it a try!!!!
- Watch (listen) to the video below and record yourself SHADOWING FOR AT LEAST THREE MINUTES. The video is related to the topic this week. If you would like to choose a different video to shadow, you are welcome to.
- Share a bit about your experience and the answers to the following:
- Share the link to the source (audio, video, etc.) you chose to shadow and explain WHY you chose it.
- What was your experience like with shadowing? (Fun? Challenging? Stressful? Simple? Useful?) Explain in English, as text.
- Based on this experience, do you think shadowing might (or might not) be a good way to increase your Spanish skills? Explain in English, as text.
- Please note that Shadowing is NOT repeating after you hear the phrase, it is saying the phrase at the same time (follow along) as you hear the phrases.
- Submit and audio link of your shadowing practice and the response to the questions above.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 5: Grammar & Writing
Commands
Please visit the SpanishDict lesson provided via the link below to learn about this topic, and watch the video below. As you go through the lesson, you may want to think about the ways in which learning 'commands' can be helpful for giving orders or telling people to 'do something' in many situations such as emergencies or just daily life.
Complete the Activity Lesson located at the top of the page. Provide a screenshot(s) of the completed lessons as evidence of your completion.
SPANISHDICT LESSON
Interactive lessons at the top of the page for which you will submit screenshot(s) as proof of completion) Click on each of the lessons to complete.- Note: When completing the lesson activities, you can hover over the Spanish sentences to view the English translation
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Section 6: Pronunciation Station
Emergency words and phrases
Put all your pronunciation skills to the test by recording audio of yourself stating all the emergency words and phrases you practiced in a previous section. Click HERE to access a Quizlet set of flashcards you will use to record your audio in English and Spanish. Submit the audio link.
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 7: Culture
Native pronunciation: Does it make a difference?
Watch the videos below about Spanish pronunciation and how to sound more 'authentic' but DO KEEP IN MIND that getting your message across in Spanish is WAY more important than 100% accurate pronunciation! However, the pronunciation needs to be such that it does NOT interfere with understanding, so it is definitely a worthwhile endeavor.
- From the video titled How to Speak Like a Native Spanish Speaker, list and describe the 4 strategies explained (in your own words and with enough evidence from the video) to improve (not to make it perfect or native-like!) your Spanish pronunciation.
- From the video titled Are There Differences between Spanish in Latin America and Spain, list 3 new, interesting or useful things you learned. Your response can be in English, Spanish or both. Please use full sentences and enough details from the video.
- Explain if your views about how you approach your Spanish pronunciation (or understanding of the pronunciation of others) have changed based on what you learned from the videos. Why or why not?
- Note: This is a beginner's Spanish course, so 'native' pronunciation is not the most important thing at this point, but it is helpful both for speaking and understanding others. As long as you can be understood (your pronunciation does not interfere with understanding) you are speaking well!
- This activity is also for you to be aware of the differences in pronunciation amongst different countries. This is not meant to have you 'decide' upon one accent to pursue as you learn Spanish or 'understand' all the different accents or any particular pronunciation but rather to learn a bit about them.
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
| Scroll down to continue to the Optional Additional Resources |
Additional Resources (Optional)
Emergency Phrases from Lingo: https://ling-app.com/es/spanish-emergency-phrases/
Module 13: Spanish and Arabic Connection
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (15 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (15 minutes)
- Language Learning Lab (30 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (30 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
| Scroll down to get started with the first section! |
Section 1: Warm-Up
Origins of Spanish
Learn about the history of the Spanish language with this fun, animated video! You will be glad you watched!
Based on what you learned from the video, in Spanish, English or both, list 3 new, useful or interesting facts. Include enough specifics from the video as well as your own thoughts.
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Section 2: Authentic Conversation
Un hecho interesante (An interesting fact)
Spanish has a lot of Arabic-influenced word which we will explore in this Module, starting with the 2-minute video below which you will be glad you watched! However, there are many other interesting facts about Spanish and Spanish-speaking countries as well as resources to help learn Spanish. For this Discussion Board:
- Conduct your own research and find a new, interesting and/or useful resource to learn about a Spanish-speaking country, culture, places, learning Spanish or the Spanish language. Please make sure the resources is from a credible and appropriate for this class (content and language level) - this means you will have to become familiar with the resource before posting!
- Then, share a link to the fact/resource, its title and some image that gives a bit of context to the resource. You could even share a video.
- Explain and describe the resource and why you chose it. You can use English, but a Spanish version is always welcome!
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot (or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
VIDEO
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Section 3: Vocabulary Builder
Spanish words of Arabic Origin
From the list of 40 Spanish words of Arabic origin, choose 5 and create a sentence for each that uses that word. Submit the sentences in English and Spanish, as audio and text.
40 words of Arabic origin: https://www.spanish.academy/blog/40-spanish-words-that-came-from-arabic/
When a submission requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link.
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Section 4: Language Learning Lab:
Translate Using Context
For this assignment, you will try out translating first WITHOUT help and then WITH the help of online resources. The goal here is NOT to have a perfect translation but to give you a sense of translating by using context. You will first read the text on the next page. Then:
1. Translate the text to English WITHOUT using any apps - title this translation NO APP TRANSLATION (remember the goal is not an accurate translation!)
2. After you translate on your own (without an app) Create a list of 10-20 words that you did not know and translate them using any of the resources you have (DeepL, SpanishDict, etc. - extend beyond Google Translate) - TYPE YOUR LIST IN BOTH LANGUAGES and title this translation NEW WORDS
3. Return to original and translate again. Did the translation get better? Explain.
4. Now, copy and paste (or type) the original English text into translator app and compare YOUR TRANSLATION with the APP translation. Title this new translation APP TRANSLATION
5. Compare translations - how close was your translation to the APP translation? Yours might be more accurate than the app, do you think so?
- Submit ALL written translations, properly labeled as per the instructions above AND:
- Share how this process went for you:
- How long did it take?
- How accurate was your initial translation?
- How did the translation improve after you increased your vocabulary by looking up the words?
- Was this activity challenging? Simple? Fun? Useful? Explain.
Translate the following:
La influencia del árabe en el español es notable. A partir del año 711, los ejércitos árabes iniciaron la conquista de la Península Ibérica, introduciendo su arte, arquitectura y lengua en la región.
Con el tiempo, el árabe se fusionó con el español antiguo, contribuyendo a la evolución del idioma tal como lo conocemos hoy. Después del latín e inglés, el árabe es posiblemente la lengua que más términos ha aportado al español. Muchos cognados entre inglés y español que no tienen origen latino provienen del árabe.
Source: https://www.thoughtco.com/spanishs-arab-connection-3078180
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Section 5: Grammar & Writing
Review of SER and ESTAR
Please visit the SpanishDict lesson provided via the link below to learn about this topic.
- Scroll down the page to find the written lesson title 'Explanation', which includes sample sentences displayed in grey boxes. Record audio of yourself reading aloud all the sample sentences and phrases from the lesson's 'Explanation' section. Each sample sentence has accompanying audio that you can listen to by clicking on the speaker icon. Feel free to submit audio of yourself repeating after the lesson audio.
- Next, complete the Activity Lessons located at the top of the page. Choose at least 3 lessons you will complete:
- Choose the 1st lesson and then choose 2 others (or more if you would like) and click on each lesson. Provide a screenshot of each completed lesson as evidence of your completion. If you complete lessons at different times, you can submit separate screenshots. If you complete them all at one, you can submit one screenshot that shows they have been completed.
SPANISHDICT LESSON
You will need to scroll down the page to view the 'Explanation' section
SPANISHDICT ACTIVITY
Interactive lessons at the top of the page for which you will submit screenshot(s) as proof of completion) Click on each of the lessons to complete.
- Note: When completing the lesson activities, you can hover over the Spanish sentences to view the English translation
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Section 6: Pronunciation Station
Words of Arabic origin
From the list of Spanish words of Arabic origin, record audio of yourself reading all the words. Submit a link to your audio. You are welcome to record yourself repeating after the audio that is next to each word.
SPANISHDICT LESSON: https://www.spanishdict.com/guide/spanish-words-of-arabic-origin
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Section 7: Culture
Flamenco
Flamenco is a form of song, dance, and instrumental (mostly guitar) music commonly associated with the Andalusian Roma (Gypsies) of southern Spain. (There, the Roma people are called Gitanos.) The roots of flamenco, though somewhat mysterious, seem to lie in the Roma migration from Rajasthan (in northwest India) to Spain between the 9th and 14th centuries. These migrants brought with them musical instruments, such as tambourines, bells, and wooden castanets, and an extensive repertoire of songs and dances. In Spain they encountered the rich cultures of the Sephardic Jews and the Moors. Their centuries-long cultural intermingling produced the unique art form known as flamenco.
For this assignment, however, watch the video below where 3 individuals complete a FLAMENCO dance lesson all in Spanish.
They are beginner speakers, part of a Babbel platform challenge, and I think they did really well!
After you watch the video, you might be inspired to find some online dance (or workout) lessons to have fun while improving your Spanish. Submit answers to the following questions, in English and Spanish (audio and text):
- What surprised you the most from the video?
- Could you take a dance lesson (or any other type of instruction) ALL in Spanish? Explain
- If you were to teach a lesson (in Spanish) on something you like, are good at or would like to learn, what would it be?
Submit your work as a Word or PDF document in the appropriate assignment submission area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.)
When applicable: Please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio or Screencast-o-matic to record videos, and share the link.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation.
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
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Additional Resources (Optional)
Arabic influence in Spanish: https://www.babbel.com/en/magazine/arabic-influence-on-spanish?utm_source=canva&utm_medium=iframely#:~:text=Perhaps%20the%20biggest%20surprise%20of%20all%2C%20however%2C%20is,4%2C000%20words%20of%20modern%20Spanish%20come%20from%20Arabic.
Module 14: Spanish around the World
Estimated time to complete this Module: 4-6 hours
Please submit all sections, clearly labeled, in one document (unless otherwise stated such as Slides projects). PDF is preferred. If needed, you can submit more than one document, but that should be the exception rather than the rule.
Sections to complete and approximate time needed to complete each (may vary depending on your Spanish level, effort and interest)
- Warm-Up (15 minutes)
- Authentic Conversation (60 minutes)
- Vocabulary Builder (15 minutes)
- Language Learning Lab (30 minutes)
- Grammar & Writing (60 minutes)
- Pronunciation Station (15 minutes)
- Culture (30 minutes)
- "Academic Honesty and Resource Acknowledgment Statement" (15 minutes): Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
YouTube Tips:
To view subtitles, click on the icon.
To view subtitles translated to any language, click on the icon, then click on the icon, click on ‘Auto-translate’ and choose the language you would like.
To slow down the audio speed of a video, click on the icon, click on ‘Playback Speed’ and choose the speed.
| Scroll down to get started with the first section! |
Section 1: Warm-Up
How languages evolve
Did you ever wonder about the origins of language and how languages evolved? If not, after watching the following video, you likley will! This short, animated four-minute Ted-Ed video will explain just that.
Based on the video, list 3 new or interesting facts you learned.
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Section 2: Authentic Conversation
Adiós
Did you know? Adiós is Spanish for "goodbye" or "farewell". As we are nearing the end of this Spanish-learning journey, which hopefully you will continue, let's learn and practice how say 'goodbye' in Spanish.
Literally translated, the word is the contraction of "a" (to) and "Dios" (God), from the old Spanish phrase "A Dios vais" ("You're going to God", meaning to the Kingdom of Heaven), which appears in the novel Don Quixote.
- Here, we will say adiós to the course and each other. Hopefully you have had an enjoyable time, learned some basic Spanish language and culture as well as learned from and gotten to know some classmates.
- On the appropriate discussion board area, you are also welcome to reflect upon your Spanish journey as well as say goodbye to classmates.
- Meanwhile, learn 6 ways to say goodbye in Spanish with the video below, and make sure to practice them on your posts!
All posts must be respectful and contribute positively to an atmosphere of civility and cooperation.
Post to the appropriate Discussion Board area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.) NOTE: If posting to a PADLET wall, please take a screenshot (or copy and paste the text) to also submit with the rest of the Module sections.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation. Please share which (if any) translation platforms you used.
If the post requires an audio file, please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio and share the link. Note: If the Discussion Board is in a 'Padlet', this platform has an audio recording function as well.
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Section 3: Vocabulary Builder
Be surprised by learning how different Spanish-speaking countries have various words for the same thing by watching the video below.
- Based on each video, share 3 'items/things' mentioned and share the different Spanish words for each. This will be 3 set of words from each video, for a total of 6. Include the English version and all the Spanish versions.Clear articulation of conceptual understanding supports deeper learning.
For example: Auto can be: Auto, automovil, carro and coche
(Please use other examples! Do not use Auto)
.
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Section 4: Language Learning Lab
100 Spanish words
Would you believe that 100 Spanish words cover 50% of spoken conversation?
Decide for yourself by watching the 5-minute video below containing the words. If true (or even if not), the 5 minutes will be time well spent!
- Based on the words on the video, create a set of 10 sentences in Spanish that would be useful for you using ONLY the video words.
- Then, translate them back to English and see if the message was accurate and complete? Please keep in mind that many translation apps will 'fix' grammatical errors, but if you use SpanishDict to translate, it may give you some hints as far as what may have been wrong. Regardless, as far as you can tell:
- Was it grammatically correct? What words do you wish you had been able to use in your sentences to make them better?
- Try to use the words as they appear on the video, and when you translate using an app, notice whether the app 'fixed' any grammatical errors. For this, you would have to use your current Spanish knowledge, which may be limited, however, as you might imagine , the verbs will likely not be properly conjugated when you create the sentences, so you may need to make some assumptions.
- What did you learn from this experience?
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Section 5: Grammar & Writing
Saber and Conocer
Saber and Conocer both mean "to know" but each is used in different contexts. The same is true of pedir and preguntar both of which mean "to ask". Learn more by watching the video below and completing the following activities.
- Please visit a SpanishDict lesson which you can access below to learn about verbs such as saber and conocer and more.
- Also visit this lesson to learn about pedir and preguntar
- Based on the lessons, explain the difference between saber and conoceras well as the difference between pedir and preguntar.
- Then, complete the Comprehensive Review and submit a screenshot at the end of the lesson as proof of completion.
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Section 6: Pronunciation Station
Improve your Spanish
Please watch the video provided and then in your own words"
- Explain the 5 'hacks' listed to improve your Spanish and include some of the Spanish words or phrases from the video as supporting examples of these 'hacks'
- Explain how you plan (or not ) to apply some of these strategies as you continue your Spanish learning journey.
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Section 7: Culture
Spanish in Asia and Africa
Did you know Spanish is spoken in one country in Asia and one in Africa?
- Watch the following videos and from EACH video, and state two new as well as surprising and/or interesting facts you learned. Please do so in English and Spanish as audio and text.
- Please provide enough details from the video.
NOTE: The video host (Drew Binsky) has travelled to every country in the World, so when he expresses 'surprise' at the conditions, environment, cost, etc. of the country, he is often comparing it tio what he has seen worldwide (including countries in that same continent) and not simply/just/necessarily to the U.S. So, if he says "I was surprised by ..." he is just making an observation and giving context which is not the same as judging.
- Please provide enough details from the video.
Submit your work as a Word or PDF document in the appropriate assignment submission area of your course's Learning Management System (Blackboard, Canvas, Moodle, D2L, Google classroom, etc.)
When applicable: Please do not upload video or audio files. Instead, use a tool such as Vocaroo to record audio or Screencast-o-matic to record videos, and share the link.
When applicable: Use a tool such as Google Translate, Forvo, DeepL or SpanishDict to check your grammar and/or pronunciation.
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Section 8: "Academic Honesty and Resource Acknowledgment Statement"
Please submit a statement affirming that the work you submit is your own, indicating that you have watched the videos, read the lessons, recorded your own audio, any screenshots are of your own work that you completed, and that composed your own sentences. Additionally, please provide an explanation of the resources or help, including any AI tools, that you utilized in the process of completing this work.
| Scroll down to continue to the Optional Additional Resources |
Additional Resources (Optional)
El fin
This is el fin (the end) of this online textbook resource.
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oercommons
|
2025-03-18T00:34:23.066219
|
Homework/Assignment
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/91700/overview",
"title": "Spanish for Communication and Cultural Understanding (Beginner)",
"author": "Full Course"
}
|
https://oercommons.org/courseware/lesson/125168/overview
|
Steps to Formulate the Study Guide for Human Anatomy
Overview
This teaching / learning strategy shares step-by-step guidelines on how to improve the understanding of human anatomy among teachers and students.
ORBIT AND OCULAR ADNEXA
SOURCE OF INFORMATION
- Search and gather the reference sources.
- Compilation of reference will include gross anatomy textbooks, anatomy & physiology (A&P) textbooks, ophthalmology textbooks, and medical dictionaries.
LAYOUT OF INFORMATION
- Browse through all the chapters, subchapters, headings, and subheadings in 'Table of Contents' to give an insight about the flow of presentation on the title.
- Outline and design the arrangement and flow of information based on the objectives of the title.
GLOSSARY OF INFORMATION
- Browse through the glossary section to identify the terminology and keywords that are repetitive throughout the title.
- Shorlist the terminology and keywords that are associated with the title and arrange them in a specific manner.
EAR
SOURCE OF INFORMATION
- Search and gather the reference sources.
- Compilation of reference will include gross anatomy textbooks, anatomy & physiology (A&P) textbooks, otorhinolaryngology and head and neck surgery (ORL-HNS) textbooks, and medical dictionaries.
LAYOUT OF INFORMATION
- Browse through all the chapters, subchapters, headings, and subheadings in 'Table of Contents' to give an insight about the flow of presentation on the title.
- Outline and design the arrangement and flow of information based on the objectives of the title.
GLOSSARY OF INFORMATION
- Browse through the glossary section to identify the terminology and keywords that are repetitive throughout the title.
- Shorlist the terminology and keywords that are associated with the title and arrange them in a specific manner.
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oercommons
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2025-03-18T00:34:23.088153
|
Ahmad Ruzain
|
{
"license": "Public Domain",
"url": "https://oercommons.org/courseware/lesson/125168/overview",
"title": "Steps to Formulate the Study Guide for Human Anatomy",
"author": "Teaching/Learning Strategy"
}
|
https://oercommons.org/courseware/lesson/66173/overview
|
Civil Procedure Code 1908
Overview
This is only brief introduction about CPC 1908.
Introduction of CPC 1908
About Code of Ciivil Procedure Code 1908
Introduction
The Civil Procedure Code was passed in 1908 and came into force from 1st January 1909. The Civil Procedure Code neither creates nor takes away any right. It is intended to regulate the procedures followed by the civil court.
Laws can be divided into two groups –
- Substantive law
- Adjective or Procedural Law
The substantive law determines the rights and liabilities of parties and adjective or procedural law prescribes the practice, for the enforcement of those rights and liabilities. The efficiency of substantive laws depends upon the quality of procedural laws. Thus, procedural laws are an accessory to substantial laws. These two are complementary to each other and they are interdependent.
Procedural laws give life to substantial laws by providing the remedy and by implementing the maxim ubi jus ibi remedium. Some examples of the procedural law are the Civil Procedure Code, Code of Criminal Procedure, and Indian Evidence Act. Indian Penal Code, Indian Contract Act, the Transfer of Property Act are examples of substantive law.
It was amended in 1877 and, subsequently, in 1882, however, those amendments did not serve the purpose, therefore, the present Code of Civil Procedure was enacted in 1908. It was drafted by the Committee headed by Sir Earle Richards.
|
oercommons
|
2025-03-18T00:34:23.106874
|
05/04/2020
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/66173/overview",
"title": "Civil Procedure Code 1908",
"author": "Vinayak Patil"
}
|
https://oercommons.org/courseware/lesson/87996/overview
|
Every Student Belongs K-5 Responsibility to Protect
Overview
This lesson utilizes the wordless picture book I Walk With Vanessa: A Story About a Simple Act of Kindness. After a whole-class read-aloud, students divide into groups to create dialogues for specific scenes in the book. The activity encourages students to discuss why people choose different roles in a situation allowing collaborative problem solving and practicing how to care for and protect others. The optional fourth and fifth-grade student extension includes analyzing historical examples and discussing why and how people have failed to protect others and how we can be better allies to those being harmed in our communities today.
K-5 Read Aloud
I Walk With Vanessa: A Story about a Simple Act of Kindness is a wordless picture book. This powerful story is about a girl whose family moves to a new area after the school year has started. Vanessa experiences social isolation, bullying from a boy and finally the intervention of a new friend who bravely chooses to ally with her. The book is more than a simple story of bullying. A careful examination of the illustrations reveal that the girl is Black, the bully is White, and the ally is a student of color. Kerascoët intentionally uses color throughout the book to deepen the conversation about social-emotional environments as well as social justice. Additionally, careful observations can be made about the bully for students to develop a more holistic empathy. The WITS organization observes, “It would be easy to label him ‘the bully,’ but when we first see him, he is also isolated on the playground and looks unhappy too...The book shows what happens when we move from leaving out one child to leaving out another. We solve one problem but create another! The new child is accepted by the other children, but what can be done for the boy who was mean to her?”
|
oercommons
|
2025-03-18T00:34:23.124200
|
Reading
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/87996/overview",
"title": "Every Student Belongs K-5 Responsibility to Protect",
"author": "History"
}
|
https://oercommons.org/courseware/lesson/120955/overview
|
Guava Leaf Diseases
Overview
This image showcases guava leaves affected by four common diseases, along with a healthy leaf for comparison. The first leaf shows signs of canker, characterized by raised, rough lesions on the surface. The second leaf displays dot disease, marked by small, dark circular spots. The third leaf represents mummification, where part of the leaf appears shriveled or dried up. The fourth leaf illustrates rust, identifiable by reddish-brown spots or pustules scattered across the surface. Finally, the last image is of a healthy guava leaf, which appears green and free from any visible diseases. These visual distinctions are crucial for identifying and diagnosing guava leaf diseases to mitigate damage to crops.
Guava leaf diseases
This image showcases guava leaves affected by four common diseases, along with a healthy leaf for comparison. The first leaf shows signs of canker, characterized by raised, rough lesions on the surface. The second leaf displays dot disease, marked by small, dark circular spots. The third leaf represents mummification, where part of the leaf appears shriveled or dried up. The fourth leaf illustrates rust, identifiable by reddish-brown spots or pustules scattered across the surface. Finally, the last image is of a healthy guava leaf, which appears green and free from any visible diseases. These visual distinctions are crucial for identifying and diagnosing guava leaf diseases to mitigate damage to crops.
|
oercommons
|
2025-03-18T00:34:23.136431
|
10/22/2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/120955/overview",
"title": "Guava Leaf Diseases",
"author": "Rishab Batra"
}
|
https://oercommons.org/courseware/lesson/106402/overview
|
earthreminder
Earthreminder
The Animal Class
Overview
Animals are an important part of the ecosystem. They help to maintain the balance of nature by providing food for other animals, by pollinating plants, and by dispersing seeds. Animals are also important to humans, as they provide us with food, clothing, and companionship.
However, animals are facing a number of threats, including habitat loss, climate change, and pollution. These threats are causing the decline of many animal species, and some species are even facing extinction.
It is important to conserve animals and to protect their habitats so that future generations can enjoy them.
Vertebrates
Vertebrates are animals that have a backbone, which is a series of bones that runs down the center of their body. Vertebrates are the most diverse group of animals on Earth, and they include fish, amphibians, reptiles, birds, and mammals.
Vertebrates are found in a wide variety of habitats, including oceans, rivers, lakes, forests, deserts, and even the air. They range in size from the tiny fish called the Paedocypris progenetica, which is only about 7.9 millimeters long, to the blue whale, which can grow up to 30 meters long.
Vertebrates play an important role in the ecosystem. They are prey for other animals, and they also help to disperse seeds and pollinate plants. Vertebrates are also important to humans, as they provide us with food, clothing, and companionship.
However, vertebrates are facing a number of threats, including habitat loss, climate change, and hunting. These threats are causing the decline of many vertebrate species, and some species are even facing extinction.
Here are some additional details that you could include in the summary paragraph:
- The different types of vertebrates, such as fish, amphibians, reptiles, birds, and mammals.
- The different habitats that vertebrates live in, such as oceans, rivers, lakes, forests, deserts, and even the air.
- The different diets of vertebrates, such as carnivores, herbivores, and omnivores.
- The different behaviors of vertebrates, such as migration, hibernation, and mating.
- The threats that vertebrates are facing, such as habitat loss, climate change, and hunting.
- The importance of conserving vertebrates and protecting their habitats.
Invertebrates
Invertebrates are animals that do not have a backbone. They make up the vast majority of animal species on Earth, with over 97% of all animal species being invertebrates. Invertebrates are found in all habitats on Earth, from the deepest oceans to the highest mountains. They come in all shapes and sizes, from the tiny tardigrade, which is only about 0.5 millimeters long, to the giant squid, which can grow up to 18 meters long.
Invertebrates have a wide range of adaptations that allow them to survive in a variety of environments. Some invertebrates, such as insects, have hard exoskeletons that protect them from predators. Other invertebrates, such as jellyfish, have stinging cells that they use to defend themselves. Still other invertebrates, such as worms, have burrowing abilities that allow them to escape from predators.
Invertebrates play an important role in the ecosystem. They are a source of food for many other animals, and they also help to recycle nutrients in the environment. Invertebrates are also important to humans, as they provide us with food, materials, and even medicines.
However, invertebrates are facing a number of threats, including habitat loss, climate change, and pollution. These threats are causing the decline of many invertebrate species, and some species are even facing extinction.
It is important to conserve invertebrates and to protect their habitats so that future generations can enjoy them.
Here are some additional details that you could include in the summary paragraph:
- The different types of invertebrates, such as insects, spiders, worms, mollusks, and echinoderms.
- The different habitats that invertebrates live in, such as oceans, rivers, lakes, forests, deserts, and even the air.
- The different diets of invertebrates, such as carnivores, herbivores, and omnivores.
- The different behaviors of invertebrates, such as migration, hibernation, and mating.
- The threats that invertebrates are facing, such as habitat loss, climate change, and pollution.
- The importance of conserving invertebrates and protecting their habitats.
Mammals
Mammals are a diverse group of animals that are characterized by their warm-blooded body temperature, live birth, mammary glands, hair or fur, and four-chambered heart. There are over 6,000 species of mammals, which are found on all continents except Antarctica. Mammals play an important role in the ecosystem, and they are also important to humans. However, mammals are facing a number of threats, including habitat loss, climate change, and hunting. It is important to conserve mammals and to protect their habitats so that future generations can enjoy them.
Reptiles
Reptiles are a diverse group of animals that are characterized by their ectothermy (cold-bloodedness), scaly skin, and amniotic eggs. There are over 10,000 species of reptiles, which are found on all continents except Antarctica. Reptiles play an important role in the ecosystem, and they are also important to humans. However, reptiles are facing a number of threats, including habitat loss, climate change, and hunting. It is important to conserve reptiles and to protect their habitats so that future generations can enjoy them.
Birds
Birds are a group of warm-blooded vertebrates that are characterized by their feathers, wings, and ability to fly. There are about 10,000 species of birds, found on every continent except Antarctica. Birds are endothermic (warm-blooded), and they breathe through lungs.
Birds have a number of features that distinguish them from other animals. These features include:
- Feathers
- Wings
- Beaks
- A four-chambered heart
- A syrinx, which is an organ that produces sound
Birds are found in a wide variety of habitats, including oceans, rivers, lakes, forests, deserts, and even the air. They range in size from the tiny bee hummingbird, which is only about 5 centimeters long and weighs less than 2 grams, to the ostrich, which can grow up to 2.7 meters tall and weigh up to 150 kilograms.
Birds play an important role in the ecosystem. They are prey for other animals, and they also help to disperse seeds and pollinate plants. Birds are also important to humans, as they provide us with food, clothing, and companionship.
However, birds are facing a number of threats, including habitat loss, climate change, and hunting. These threats are causing the decline of many bird species, and some species are even facing extinction.
|
oercommons
|
2025-03-18T00:34:23.166032
|
07/06/2023
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/106402/overview",
"title": "The Animal Class",
"author": "George Quarles"
}
|
https://oercommons.org/courseware/lesson/77857/overview
|
Management: The Importance of Personality
Overview
This activity has students taking the Myers-Briggs personality test. Once they have taken the personality test they will create a poster highlighting their strengths and weaknesses. They will also post to a discussion forum with a reflection on their results.
Introduction to Personality Types
Standard:
- Iowa Business Education Core Standard #5: Understands techniques, strategies, and systems used to foster self-understanding and enhance relationships with others.
- Performance Element 5.1: Foster self-understanding to recognize the impact of personal feelings on others
Background:
Throughout this course we will be looking at the different functions of management. One HUGE part of managing a business is managing people. The people that work for a busienss all have unique personality characteristics and it is very important for management to be aware of this and to capitalize on the strengths of the employees. The goal of this activity is for you to look at your personality type and determine your own strengths and weaknesses. This will allow you to be a better leader, both in this classroom and when you go out into the workplace.
Personality Test
It is time for you to take the Myers-Briggs Personality Test. Go to https://www.16personalities.com/free-personality-test and take the free personality test. As you take this test try not to pick the Neutral option if possible. Go with your gut instinct when answering - there is NO wrong answer!! Make sure to write down your personality type along with the name of your personality type. For example, I am an ESFJ-T (Consul).
Apply Your Learning
Now that you've had the opportunity to take the personality test it's time to take some time to learn some more about your personality type. We will be referring to this throughout the semester so it's important for you to have a good understanding of both your strengths and weaknesses.
You will be creating a poster (using your choice of technology**) that includes the following information:
- Name
- Your Personality Type (Letters & Name) - Example - ESFJ: Consul
- 3 Strengths
- Include one picture that represents the strength you relate to the most
- 3 Weaknesses
- Include one picture that represents the weakness you relate to the most
When you are done you will turn your assignment in on Canvas to the Personality Type Poster assignment.
**If you are stuck on how to make your poster, here is a listing of possible technology options:
- Presentation Software (PowerPoint, Google Slides, Keynote)
- Word Processing Software (Word, Google Docs, Pages)
- iPad Apps (Good Notes, Sketches School)
- Online Sites (Canva, Piktochart)
Note: these are just possibilities. If you have another idea, run it by your teacher to see if it will work!
Reflect on Your Learning
You will be posting in the Personality Type Reflection discussion forum on Canvas. Your discussion post should include the following:
- Your Personality Type (Letters & Name) - Example - ESFJ: Consul
- 5-7 sentences that reflect on your thoughts about the results of this personality assessment and whether or not it depicts your personality type. Be thoughtful and provide specifics.
Once you have posted your reflection you will respond to 2 classmates. Your response should include the following:
- 1-2 things that stood out from the original post
- 1-2 ways you are similar to the person who originally posted
- 1-2 ways you are different from the person who originally posted
|
oercommons
|
2025-03-18T00:34:23.184701
|
Lesson Plan
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/77857/overview",
"title": "Management: The Importance of Personality",
"author": "Activity/Lab"
}
|
https://oercommons.org/courseware/lesson/98801/overview
|
Colombian Economy
Overview
This is a lesson plan for an English class
Colombia
School: INEM " Julian Motta Salas"
Grade: 11°
Welcome to Colombia, a tropical country of incredible diversity and charm. Its ever-changing geography, a history loaded with mystery and adventure, and people and cultures, have fascinated the world for centuries.
Introductory Activity
You are watching some pictures related to the Colombian economy. Work with a partner and discuss each picture.
What can you see?
How much do you know about the Colombian economy?
What can you say about these pictures?
You have five minutes to talk to your partner. after that, you will be able to say what you discuss with your partner.
While activity 1
The first activity consists of doing a word search puzzle using educaplay (you have to log in to be able to play). You have to find eight words inside the word search puzzle. The words are related to some Colombian economic issues.
For this activity, you have ten minutes.
While activity 2
In this activity, you have to play a dynamic play using ppt, it is a matching play. You have to make groups of four people, once the groups are composed of four students, you have to play in pairs, because it is a competitive game, so within the groups, a pair have to play against the other pair.
For this activity, you have 10 minutes.
You have to find the picture and its meaning, if you match one, you get a point.
post activity
In this final part, we are going to socialize all what we did during the class, we are going to discuss all what we learnd abou Colombian economy. And befor finishing the class, we are going to play a cool game in kahoot, you have to answer seven qustions about Colombian economy, this is going to be an individual activity.
And finally, I will leave you a home work. You have to write an essay about Colombian economic issues, you have to search information on internet, as much as you can, you are able to use videos, reading, and whatever you want.
|
oercommons
|
2025-03-18T00:34:23.201195
|
Emanuel Trujillo
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/98801/overview",
"title": "Colombian Economy",
"author": "Homework/Assignment"
}
|
https://oercommons.org/courseware/lesson/86934/overview
|
Open Access Chapters from Copyright Conversations: Rights Literacy in a Digital World
Overview
This is an edited volume of chapters from copyright experts around the globe explaining complex copyright issues in a clear, concise way. The majority of the chapters are licensed CC-BY.
Open Access Chapters from Copyright Conversations: Rights Literacy in a Digital World
Table of Contents
iii Foreword by Kenneth D. Crews
- COPYRIGHT LIBRARIANS’ ROLE & ADVOCACY
Chapter 1. “Kids These Days”… May Know More About Copyright Than You
Nancy Sims
Chapter 2. Copyright Law’s Role in Advocacy and Education for Open Access Policies on Campus
Colin Lukens, Shannon Kipphut-Smith, and Kyle K. Courtney
Chapter 3. Fear and Fair Use: Addressing the Affective Domain
Sara R. Benson
Chapter 4. The Origins and Future of Fair Use/Fair Dealing Week: Why Should Libraries, Museums, and Other Cultural Institutions Participate?
Kyle K. Courtney and Krista L. Cox
Chapter 5. An Exercise in Contradiction? The Role of Academic Copyright Librarians
Mélanie Brunet and Amanda Wakaruk
Sarah A. Norris, Barbara Tierney, and Lily Dubach
II. EDUCATION
Allison Nowicki Estell
Chapter 8. "Information Has Value" and Beyond: Copyright Education within and around the Framework
Gesina A. Phillips
Chapter 9. An Active Learning Approach to Teaching Copyright Essentials
Melina Thiede and Jennifer Zerkee
Chapter 10. Online Classrooms: Is the TEACH Act Enough?
Carla S. Myers
Melanie T. Kowalski and Lisa A. Macklin
Andrea L. Schuler
Roger Gillis
- RESEARCH AND POLICY
Chapter 14. Copyright Essentials and Information Policy (Policy Implications for Copyright Law)
Carrie Russell
Alexandra Kohn
Rina Elster Pantalony
Rachael G. Samberg and Cody Hennesy
Chapter 18. Whose Stuff is it Anyway? Adopting Strategies for US Orphan Works
Pia M. Hunter
IV. INTERNATIONAL ISSUES
Chapter 19. The International Copyright Regime – Just Enough to Make You Cringe
Bing Wang
Chapter 20. From Fair Dealing to Fair Use: How Universities Have Adapted to the Changing Copyright Landscape in Canada
Mark Swartz, Ann Ludbrook, Stephen Spong, and Graeme Slaght
Chapter 21. Interlibrary Loan and Copyright in Italy: A Case Study of Bocconi University Library
Anna Vaglio
OA pdf from publisher
This is the entire book in a pdf from the publisher
|
oercommons
|
2025-03-18T00:34:23.234521
|
Sara Benson
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/86934/overview",
"title": "Open Access Chapters from Copyright Conversations: Rights Literacy in a Digital World",
"author": "Reading"
}
|
https://oercommons.org/courseware/lesson/79074/overview
|
Learning Domain: Mathematical Practices
Standard: Make sense of problems and persevere in solving them. Mathematically proficient students start by explaining to themselves the meaning of a problem and looking for entry points to its solution. They analyze givens, constraints, relationships, and goals. They make conjectures about the form and meaning of the solution and plan a solution pathway rather than simply jumping into a solution attempt. They consider analogous problems, and try special cases and simpler forms of the original problem in order to gain insight into its solution. They monitor and evaluate their progress and change course if necessary. Older students might, depending on the context of the problem, transform algebraic expressions or change the viewing window on their graphing calculator to get the information they need. Mathematically proficient students can explain correspondences between equations, verbal descriptions, tables, and graphs or draw diagrams of important features and relationships, graph data, and search for regularity or trends. Younger students might rely on using concrete objects or pictures to help conceptualize and solve a problem. Mathematically proficient students check their answers to problems using a different method, and they continually ask themselves, "Does this make sense?"ť They can understand the approaches of others to solving complex problems and identify correspondences between different approaches.
Learning Domain: Mathematical Practices
Standard: Reason abstractly and quantitatively. Mathematically proficient students make sense of the quantities and their relationships in problem situations. Students bring two complementary abilities to bear on problems involving quantitative relationships: the ability to decontextualize"Óto abstract a given situation and represent it symbolically and manipulate the representing symbols as if they have a life of their own, without necessarily attending to their referents"Óand the ability to contextualize, to pause as needed during the manipulation process in order to probe into the referents for the symbols involved. Quantitative reasoning entails habits of creating a coherent representation of the problem at hand; considering the units involved; attending to the meaning of quantities, not just how to compute them; and knowing and flexibly using different properties of operations and objects.
Learning Domain: Mathematical Practices
Standard: Construct viable arguments and critique the reasoning of others. Mathematically proficient students understand and use stated assumptions, definitions, and previously established results in constructing arguments. They make conjectures and build a logical progression of statements to explore the truth of their conjectures. They are able to analyze situations by breaking them into cases, and can recognize and use counterexamples. They justify their conclusions, communicate them to others, and respond to the arguments of others. They reason inductively about data, making plausible arguments that take into account the context from which the data arose. Mathematically proficient students are also able to compare the effectiveness of two plausible arguments, distinguish correct logic or reasoning from that which is flawed, and"Óif there is a flaw in an argument"Óexplain what it is. Elementary students can construct arguments using concrete referents such as objects, drawings, diagrams, and actions. Such arguments can make sense and be correct, even though they are not generalized or made formal until later grades. Later, students learn to determine domains to which an argument applies. Students at all grades can listen or read the arguments of others, decide whether they make sense, and ask useful questions to clarify or improve the arguments.
Learning Domain: Mathematical Practices
Standard: Look for and make use of structure. Mathematically proficient students look closely to discern a pattern or structure. Young students, for example, might notice that three and seven more is the same amount as seven and three more, or they may sort a collection of shapes according to how many sides the shapes have. Later, students will see 7 x 8 equals the well remembered 7 x 5 + 7 x 3, in preparation for learning about the distributive property. In the expression x^2 + 9x + 14, older students can see the 14 as 2 x 7 and the 9 as 2 + 7. They recognize the significance of an existing line in a geometric figure and can use the strategy of drawing an auxiliary line for solving problems. They also can step back for an overview and shift perspective. They can see complicated things, such as some algebraic expressions, as single objects or as being composed of several objects. For example, they can see 5 - 3(x - y)^2 as 5 minus a positive number times a square and use that to realize that its value cannot be more than 5 for any real numbers x and y.
Learning Domain: Mathematical Practices
Standard: Look for and express regularity in repeated reasoning. Mathematically proficient students notice if calculations are repeated, and look both for general methods and for shortcuts. Upper elementary students might notice when dividing 25 by 11 that they are repeating the same calculations over and over again, and conclude they have a repeating decimal. By paying attention to the calculation of slope as they repeatedly check whether points are on the line through (1, 2) with slope 3, middle school students might abstract the equation (y - 2)/(x -1) = 3. Noticing the regularity in the way terms cancel when expanding (x - 1)(x + 1), (x - 1)(x^2 + x + 1), and (x - 1)(x^3 + x^2 + x + 1) might lead them to the general formula for the sum of a geometric series. As they work to solve a problem, mathematically proficient students maintain oversight of the process, while attending to the details. They continually evaluate the reasonableness of their intermediate results.
Cluster: Mathematical practices
Standard: Make sense of problems and persevere in solving them. Mathematically proficient students start by explaining to themselves the meaning of a problem and looking for entry points to its solution. They analyze givens, constraints, relationships, and goals. They make conjectures about the form and meaning of the solution and plan a solution pathway rather than simply jumping into a solution attempt. They consider analogous problems, and try special cases and simpler forms of the original problem in order to gain insight into its solution. They monitor and evaluate their progress and change course if necessary. Older students might, depending on the context of the problem, transform algebraic expressions or change the viewing window on their graphing calculator to get the information they need. Mathematically proficient students can explain correspondences between equations, verbal descriptions, tables, and graphs or draw diagrams of important features and relationships, graph data, and search for regularity or trends. Younger students might rely on using concrete objects or pictures to help conceptualize and solve a problem. Mathematically proficient students check their answers to problems using a different method, and they continually ask themselves, “Does this make sense?” They can understand the approaches of others to solving complex problems and identify correspondences between different approaches.
Cluster: Mathematical practices
Standard: Reason abstractly and quantitatively. Mathematically proficient students make sense of the quantities and their relationships in problem situations. Students bring two complementary abilities to bear on problems involving quantitative relationships: the ability to decontextualize—to abstract a given situation and represent it symbolically and manipulate the representing symbols as if they have a life of their own, without necessarily attending to their referents—and the ability to contextualize, to pause as needed during the manipulation process in order to probe into the referents for the symbols involved. Quantitative reasoning entails habits of creating a coherent representation of the problem at hand; considering the units involved; attending to the meaning of quantities, not just how to compute them; and knowing and flexibly using different properties of operations and objects.
Cluster: Mathematical practices
Standard: Construct viable arguments and critique the reasoning of others. Mathematically proficient students understand and use stated assumptions, definitions, and previously established results in constructing arguments. They make conjectures and build a logical progression of statements to explore the truth of their conjectures. They are able to analyze situations by breaking them into cases, and can recognize and use counterexamples. They justify their conclusions, communicate them to others, and respond to the arguments of others. They reason inductively about data, making plausible arguments that take into account the context from which the data arose. Mathematically proficient students are also able to compare the effectiveness of two plausible arguments, distinguish correct logic or reasoning from that which is flawed, and—if there is a flaw in an argument—explain what it is. Elementary students can construct arguments using concrete referents such as objects, drawings, diagrams, and actions. Such arguments can make sense and be correct, even though they are not generalized or made formal until later grades. Later, students learn to determine domains to which an argument applies. Students at all grades can listen or read the arguments of others, decide whether they make sense, and ask useful questions to clarify or improve the arguments.
Cluster: Mathematical practices
Standard: Look for and make use of structure. Mathematically proficient students look closely to discern a pattern or structure. Young students, for example, might notice that three and seven more is the same amount as seven and three more, or they may sort a collection of shapes according to how many sides the shapes have. Later, students will see 7 × 8 equals the well remembered 7 × 5 + 7 × 3, in preparation for learning about the distributive property. In the expression x^2 + 9x + 14, older students can see the 14 as 2 × 7 and the 9 as 2 + 7. They recognize the significance of an existing line in a geometric figure and can use the strategy of drawing an auxiliary line for solving problems. They also can step back for an overview and shift perspective. They can see complicated things, such as some algebraic expressions, as single objects or as being composed of several objects. For example, they can see 5 – 3(x – y)^2 as 5 minus a positive number times a square and use that to realize that its value cannot be more than 5 for any real numbers x and y.
Cluster: Mathematical practices
Standard: Look for and express regularity in repeated reasoning. Mathematically proficient students notice if calculations are repeated, and look both for general methods and for shortcuts. Upper elementary students might notice when dividing 25 by 11 that they are repeating the same calculations over and over again, and conclude they have a repeating decimal. By paying attention to the calculation of slope as they repeatedly check whether points are on the line through (1, 2) with slope 3, middle school students might abstract the equation (y – 2)/(x –1) = 3. Noticing the regularity in the way terms cancel when expanding (x – 1)(x + 1), (x – 1)(x^2 + x + 1), and (x – 1)(x^3 + x^2 + x + 1) might lead them to the general formula for the sum of a geometric series. As they work to solve a problem, mathematically proficient students maintain oversight of the process, while attending to the details. They continually evaluate the reasonableness of their intermediate results.
|
oercommons
|
2025-03-18T00:34:23.284572
|
Washington OSPI OER Project
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/79074/overview",
"title": "MPIR - Notice and Wonder",
"author": "Barbara Soots"
}
|
https://oercommons.org/courseware/lesson/117458/overview
|
The Impacts of Shared Book Reading
Overview
This article discusses the research behind shared book reading and how it impacts children's literacy skills later in life.
.
|
oercommons
|
2025-03-18T00:34:23.300755
|
Unit of Study
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/117458/overview",
"title": "The Impacts of Shared Book Reading",
"author": "Data Set"
}
|
https://oercommons.org/courseware/lesson/112198/overview
|
Primary Sources: Tecumseh and Tenskwatawa
Overview
This resource contains excerpts from two primary sources, "Tecumseh's Speech to the Osages" and "Tenskwatawa’s Vision", with accompanying critical questions.
Attachments
The attachment for this resource is a document with two primary sources and associated questions.
About This Resource
The sample resource here was submitted by a participant in a one-day workshop entitled, "Teaching Indigenous History as World History" for world history teachers hosted by the Alliance for Learning in World History.
This resource was contributed by Amanda Goodwin.
|
oercommons
|
2025-03-18T00:34:23.318476
|
Primary Source
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/112198/overview",
"title": "Primary Sources: Tecumseh and Tenskwatawa",
"author": "Homework/Assignment"
}
|
https://oercommons.org/courseware/lesson/60228/overview
|
Integers Reference Sheet
Overview
This document is a reference sheet for students studying integers.
Integers Reference Sheet
Integers Reference Page
Absolute Value:
The distance a number is from zero.
Adding Integers (Same Signs):
Both Positive: Add the two absolute values. Then sum will be positive.
Example:
Both Negative: Add the two absolute values. The sum will be negative.
Example:
Adding Integers (Different Signs):
Subtract the lesser absolute value from the greater absolute value. The sum will have the sign of the number with the greater absolute value.
Example:
Subtracting Integers:
Subtracting a number is the same as Adding the opposite of the number.
Example:
Multiplying Integers Dividing Integers
Positive Positive = Positive Positive Positive =Positive
Negative Positive = Negative Negative Positive = Negative
Positive Negative = Negative Positive Negative = Negative
Negative Negative = Positive Negative Negative= Positive
|
oercommons
|
2025-03-18T00:34:23.332875
|
11/29/2019
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/60228/overview",
"title": "Integers Reference Sheet",
"author": "Julie Stoker"
}
|
https://oercommons.org/courseware/lesson/117027/overview
|
Education Standards
Ice Cream in a Bag Lesson Plan
Ice cream Presentation
Learn States of Matter with Ice Cream in a Bag
Overview
In this lesson, students explore the states of matter by creating ice cream in a bag. They'll observe how liquids transform into solids through the process of freezing, while also learning about the properties of solids and liquids. By manipulating ingredients and observing temperature changes, students will gain a hands-on understanding of the scientific principles behind phase transitions. This activity encourages curiosity and critical thinking as students engage with fundamental concepts in a fun and delicious way.
Introduction
Subjects: • Science • Chemistry • Math
Time: 60-90 minutes
Skills: • Measurement • Problem-solving • Measurement • Engineering design process
Learning Objective/Goal:
- Understanding the difference between solids and liquids based on ice cream changing from a liquid to a solid
- Understand what changes in ice cream as it is shaken and changes to a solid`
Materials Needed per student/serving :
- 1/2 cup Half & Half
- 1/2 to 1 Tbs of Sugar
- 1/4 tsp Vanilla
- 2 Sandwich Bag (small and large)
- Ice (approx. 1-2 cups)
- 2 Spoonfuls of Salt
- Extra toppings
Background
This ice cream lesson is a great way to excite students about learning science principles and illustrate the concept in real life. Students can also practice skills in measurement and math where they can measure out the ingredients and calculate the total volume before beginning to shake it
Activity
Introduction:
- Prepare all ingredients and introduce students to the topic of ice cream
- Go over an overview of what will be discussed
- Start the presentation on ice cream, which goes over the history of ice cream, how it changes states of matter, and eventually the recipe of how to make it - be sure to explain each slide
Instructions for making Ice Cream:
- Pour the half and half and sugar into a bowl and mix until dissolved - it may take some time depending on how fast they stir
- Stir the vanilla in.
- Pour the mixture into the small plastic bag, and close making sure to remove all air from the bag
In the large bag:
- Put half of the ice in the large bag - there should be a decent layer at the bottom
- Place the smaller bag with the half-and-half mixture in the larger bag
- Add the rest of the ice, making sure the bag is covered
- Pour 2 spoonfuls of salt into the ice
Making the ice cream
- Have students seal the large bag with air, forming a large bubble, and share aggressively for over 10 minutes. After, check the ice cream every 2-3 minutes
Discussion
as the students are eating their ice cream, have a short discussion/debrief about how it went, if they like it or not, and what they learned.
Potential topics of discussion:
Ice Cream Science: How did the ingredients change from liquid to solid?
Favorite Part: What was the most fun or interesting part of making ice cream?
Next Time: What would you like to try differently if we made ice cream again?
Extra
Tips for Students:
- If the bag is too cold to shake students can grab the plastic bag but not the ice inside and shake (due to the large bubble inside
- Try to be as exact as possible when measuring out ingredients!
Tips for Teachers:
- Prepare all the ingredients beforehand and make sure to have all the required measuring cups
- The recipe and serving can be scaled up or down depending on age and materials
- Be sure to explain the states of matter change throughout the process!
Extensions:
- Have the students calculate the total amount of ingredients the teacher needs to buy
- Ask students to modify the ice cream recipe by adjusting the fractions and/or ratios of ingredients.
Recipe from https://www.delish.com/cooking/recipe-ideas/recipes/a54721/ice-cream-in-a-bag-recipe/
|
oercommons
|
2025-03-18T00:34:23.366176
|
06/20/2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/117027/overview",
"title": "Learn States of Matter with Ice Cream in a Bag",
"author": "Annabel Lee"
}
|
https://oercommons.org/courseware/lesson/86975/overview
|
https://www.usconstitution.net/constkidsK.html
https://www.youtube.com/watch?v=NmwzK1Ba7v0
Warm-Up Activity
Overview
This is a warm-up activity for The United States Constitution
Social Studies
Start by watching the short video provided
Then read through the second link provided
When you have completed the first two links, complete the acitvity provided
|
oercommons
|
2025-03-18T00:34:23.382976
|
10/22/2021
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/86975/overview",
"title": "Warm-Up Activity",
"author": "Briteanna Curry"
}
|
https://oercommons.org/courseware/lesson/108858/overview
|
https://es.educaplay.com/recursos-educativos/15912829-good_heatlh_and_well_being.html
https://quizizz.com/join?gc=580735
Medicine: Obesity Problem
Overview
This is a lesson plan for students between 8th and 10th grade in high school. Here they learn about the topic of obesity, there are activities, reflections and quizzez. They can enhance their use of technology and it is interactive.
Teachers:
Briam Styf Diaz Salazar
Paula Narvaez Montenegro
Valeria Cuellar Mosquera
Catalina Cordoba
Target Population:
This lesson is meant for teenagers in highschool, specially for those ones between 8th and 11th grade.
ICT Framework
- Following The Colombian ICT framework for teachers, the competences involved are mainly, the Technologic Competence (because we used different tools for students to develop skills in using technology), The Communicative Competence (because students communicate with the teacher and other students) and The Pedagogic Competence (because the learning setting is well-structured and there is a constant communication).
Basic Learning Rights (BLR):
Express their opinions and viewpoints in regards to the topic of obesity in a respectful way.
Analizes the topic of obesity as a whole, linking it to other problems
Critically analyzes how other aspects affect on people's weight and health.
Knows and uses creative strategies to generate options in regards to eating habits.
Skills Focus:
Reading, Speaking, Listening.
Overview
Obesity descriptions help us understand and characterize a person's body size and health in terms of their weight and physique. These descriptions rely solely on visual cues and provide insights into a person's physical condition without delving into their medical history. This seminar will enhance your vocabulary with adjectives and words commonly used to the problem of obesity. You will learn to use words like overweight, obese and you will learn about eating habits. By the end of this session, you'll be better equipped to communicate effectively about this important aspect of health and well-being.
Learning Target:
I can understand the problem of obesity and I can use vocabulary related to healthy or unhealthy habits, food and attitudes attributed to the topic of obesity in English.
Engage
Engage: Introductory warm-up activity:
For the warm-up activity, students must see the images that are in the link below. They must comment what their thoughts are about the picture, for example, if they think that the picture is related to a good physical condition or an obsesity problem. Then the student will go to the other link below that will guide him/her to a short activity (pre-activity) of matching pairs in order to get in touch to the new vocabulary.
Explore (While Activity)
Reading and Filling Gaps Activity For this activity, students must use the app ExeLearning. Please download the file below and open it with ExelLearning, this is an activity of reading and filling the gaps. Students must guess the word that best fits to the gap and read the whole text. The_importance_of_good_nutrition.elp (Click here to download exelearning if you do not have it)
| Watch Video In this video lesson we're learning about the obesity problem. You will learn the causes of obesity, some sympthoms and teatment. Click Here to watch the video.
Once watched the video please answer this short quiz: Click Here
| Power Point Game This activity will be about a game called "Who wants to be billionare?" please download the powerpoint and answer it.
Who_Wants_to_be_a_Millionaire_obesity.ppt
|
Explain (Post-Activity)
Oral Interaction
Discuss your ideas with your classmates
Based on what you learned in the Explore and Engage sections of this Seminar, make groups of 4 students and choose one of the following prompts to discuss about:
|
Evaluate (Quiz)
Now it is time to self-check how much you have learned about the topic of Obesity and eating habits. If you do not know as much as you thought, go back to the “Explore” section of this seminar and reread, rewatch, or redo the activities listed. See your facilitator if you have questions.
Below there is a link to Quizziz, please answer the quiz and test your self.
Express (Reflection)
Write a reflection paragraph answering the following questions:
How do you believe societal influences, genetics, financial factors, access to healthcare, personal choices, and eating habits collectively shape an individual's experience with obesity? Reflect on how these elements intertwine to influence someone's path toward a healthier lifestyle.
(Send the pharagraph file via email: u20221203045@usco.edu.co in case there is little or no internet, write it down in a paper and give it to the teacher.)
|
oercommons
|
2025-03-18T00:34:23.413936
|
09/27/2023
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/108858/overview",
"title": "Medicine: Obesity Problem",
"author": "Briam Diaz"
}
|
https://oercommons.org/courseware/lesson/82767/overview
|
What is Nanotechnology?
Overview
- This lesson is designed to be used by science instructors wanting to expand their student's knowledge of nanotechnology. It builds upon students' prior knowledge of the SI units to discuss nanoscience.
Standards
9-10.RS.1 Cite specific textual evidence to support analysis of science texts, attending to the precise details of explanations or descriptions.
9-10.RS.2 Determine the central ideas or conclusions of a text; trace the text’s explanation or depiction of a complex process, phenomenon, or concept; provide an accurate summary of the text.
9-10.RS.4 Determine the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific context relevant to grades 9-10 texts and topics.
9-10.RS.10 By the end of grade 10, read and comprehend science texts in the grades 9-10 text complexity band independently and proficiently.
9-10.WS.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.
Learning Objectives
Students will learn about the multidisciplinary areas encompassed by the terms nanotechnology and nanoscience.
Students will be able to understand and describe what is meant by the terms; nano-scale, nanotechnology, and nanoscience.
Materials
Nanooze Issue #1
Reading Guide 1 nano
Science Skills PowerPoint (copyrights may apply to some materials)
Procedure
Work through the last portion of the Science Skills PowerPoint to gain further understanding of SI Units, Prefixes and Conversions.
Students will close read assigned Nanooze Issue.
Students will discuss the assigned article in groups.
Students will collaborate on a summary of the assigned article.
Students will individually read and write a summary of at least one additional article of their choice from the assigned Nanooze Issue.
Extra credit will be awarded to students that choose to read and summarize a third article from the assigned Nanooze.
Credits
This learning module was created by Robert Vittoe, a participant in Indiana University-Purdue University’s NSF-Funded “Nanotechnology Experiences for Students and Teachers (NEST)” Program (Award # 1513112).
|
oercommons
|
2025-03-18T00:34:23.430625
|
Reading
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/82767/overview",
"title": "What is Nanotechnology?",
"author": "Lesson"
}
|
https://oercommons.org/courseware/lesson/88847/overview
|
Chapter 6 Introduction and Section 1
Overview
Lesson detailing Chapter 6 Learning Introduction and Section 1.
Chapter 6 Introduction
Chapter 6 Introduction
The summer sun shines brightly on a deserted stretch of beach. Suddenly, a tiny grey head emerges from the sand, then another and another. Soon the beach is teeming with loggerhead sea turtle hatchlings (Figure). Although only minutes old, the hatchlings know exactly what to do. Their flippers are not very efficient for moving across the hot sand, yet they continue onward, instinctively. Some are quickly snapped up by gulls circling overhead and others become lunch for hungry ghost crabs that dart out of their holes. Despite these dangers, the hatchlings are driven to leave the safety of their nest and find the ocean.
Not far down this same beach, Ben and his son, Julian, paddle out into the ocean on surfboards. A wave approaches. Julian crouches on his board, then jumps up and rides the wave for a few seconds before losing his balance. He emerges from the water in time to watch his father ride the face of the wave.
Unlike baby sea turtles, which know how to find the ocean and swim with no help from their parents, we are not born knowing how to swim (or surf). Yet we humans pride ourselves on our ability to learn. In fact, over thousands of years and across cultures, we have created institutions devoted entirely to learning. But have you ever asked yourself how exactly it is that we learn? What processes are at work as we come to know what we know? This chapter focuses on the primary ways in which learning occurs.
Chapter 6 Section 1
Chapter 6 Section 1 Learning
Birds build nests and migrate as winter approaches. Infants suckle at their mother’s breast. Dogs shake water off wet fur. Salmon swim upstream to spawn, and spiders spin intricate webs. What do these seemingly unrelated behaviors have in common? They all are unlearned behaviors. Both instincts and reflexes are innate behaviors that organisms are born with. Reflexes are a motor or neural reaction to a specific stimulus in the environment. They tend to be simpler than instincts, involve the activity of specific body parts and systems (e.g., the knee-jerk reflex and the contraction of the pupil in bright light), and involve more primitive centers of the central nervous system (e.g., the spinal cord and the medulla). In contrast, instincts are innate behaviors that are triggered by a broader range of events, such as aging and the change of seasons. They are more complex patterns of behavior, involve movement of the organism as a whole (e.g., sexual activity and migration), and involve higher brain centers.
Both reflexes and instincts help an organism adapt to its environment and do not have to be learned. For example, every healthy human baby has a sucking reflex, present at birth. Babies are born knowing how to suck on a nipple, whether artificial (from a bottle) or human. Nobody teaches the baby to suck, just as no one teaches a sea turtle hatchling to move toward the ocean. Learning, like reflexes and instincts, allows an organism to adapt to its environment. But unlike instincts and reflexes, learned behaviors involve change and experience: learning is a relatively permanent change in behavior or knowledge that results from experience. In contrast to the innate behaviors discussed above, learning involves acquiring knowledge and skills through experience. Looking back at our surfing scenario, Julian will have to spend much more time training with his surfboard before he learns how to ride the waves like his father.
Learning to surf, as well as any complex learning process (e.g., learning about the discipline of psychology), involves a complex interaction of conscious and unconscious processes. Learning has traditionally been studied in terms of its simplest components—the associations our minds automatically make between events. Our minds have a natural tendency to connect events that occur closely together or in sequence. Associative learning occurs when an organism makes connections between stimuli or events that occur together in the environment. You will see that associative learning is central to all three basic learning processes discussed in this chapter; classical conditioning tends to involve unconscious processes, operant conditioning tends to involve conscious processes, and observational learning adds social and cognitive layers to all the basic associative processes, both conscious and unconscious. These learning processes will be discussed in detail later in the chapter, but it is helpful to have a brief overview of each as you begin to explore how learning is understood from a psychological perspective.
In classical conditioning, also known as Pavlovian conditioning, organisms learn to associate events—or stimuli—that repeatedly happen together. We experience this process throughout our daily lives. For example, you might see a flash of lightning in the sky during a storm and then hear a loud boom of thunder. The sound of the thunder naturally makes you jump (loud noises have that effect by reflex). Because lightning reliably predicts the impending boom of thunder, you may associate the two and jump when you see lightning. Psychological researchers study this associative process by focusing on what can be seen and measured—behaviors. Researchers ask if one stimulus triggers a reflex, can we train a different stimulus to trigger that same reflex? In operant conditioning, organisms learn, again, to associate events—a behavior and its consequence (reinforcement or punishment). A pleasant consequence encourages more of that behavior in the future, whereas a punishment deters the behavior. Imagine you are teaching your dog, Hodor, to sit. You tell Hodor to sit, and give him a treat when he does. After repeated experiences, Hodor begins to associate the act of sitting with receiving a treat. He learns that the consequence of sitting is that he gets a doggie biscuit (Figure). Conversely, if the dog is punished when exhibiting a behavior, it becomes conditioned to avoid that behavior (e.g., receiving a small shock when crossing the boundary of an invisible electric fence).
In operant conditioning, a response is associated with a consequence. This dog has learned that certain behaviors result in receiving a treat. (credit: Crystal Rolfe)
Observational learning extends the effective range of both classical and operant conditioning. In contrast to classical and operant conditioning, in which learning occurs only through direct experience, observational learning is the process of watching others and then imitating what they do. A lot of learning among humans and other animals comes from observational learning. To get an idea of the extra effective range that observational learning brings, consider Ben and his son Julian from the introduction. How might observation help Julian learn to surf, as opposed to learning by trial and error alone? By watching his father, he can imitate the moves that bring success and avoid the moves that lead to failure. Can you think of something you have learned how to do after watching someone else?
All of the approaches covered in this chapter are part of a particular tradition in psychology, called behaviorism, which we discuss in the next section. However, these approaches do not represent the entire study of learning. Separate traditions of learning have taken shape within different fields of psychology, such as memory and cognition, so you will find that other chapters will round out your understanding of the topic. Over time these traditions tend to converge. For example, in this chapter you will see how cognition has come to play a larger role in behaviorism, whose more extreme adherents once insisted that behaviors are triggered by the environment with no intervening thought.
|
oercommons
|
2025-03-18T00:34:23.451360
|
12/17/2021
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/88847/overview",
"title": "Chapter 6 Introduction and Section 1",
"author": "Clint Borton"
}
|
https://oercommons.org/courseware/lesson/80175/overview
|
Data Analysis of Algae Tanks
Overview
Use data sets from a group of ninth grade students to analyze and draw conclusions, find sources of error, and identify variables and constants.
Data Analysis of Algae Tanks
The attached data sets were taken from a group of ninth grade students who actively monitored 6 algae tanks for roughly a month. Several measures were taken to try to make the data accurate. However, potential sources of error or variables can also be identified.
The following is several different data sets. Students can analyze the different data sets to draw conclusions and to identify sources of error.
|
oercommons
|
2025-03-18T00:34:23.468325
|
05/11/2021
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/80175/overview",
"title": "Data Analysis of Algae Tanks",
"author": "Lora Gibbons"
}
|
https://oercommons.org/courseware/lesson/105252/overview
|
PRODUCT BASED ASSESSMENT
PRODUCT BASED ASSESSMENT
Overview
Product-based assessment is an evaluation useto assess the knowledge, skills, and competencies of individuals based on their creation of infographic product about the proper use of social media.
Product Based Assessment
Subject: Technology and Livelihood Education: Information and Communication Technology (ICT)
Grade Level: Grade 8
Topic: Evaluating an infographic about the proper use of social media.
INTENDED LEARNING OUTCOMES:
At the end of the lesson the students with 80% of accuracy should have:
To develop students skills in creating an infographic design.
ASSESSMENT TASK:
Construct an infographic output about the proper use of social media.
INSTRUCTIONS:
In this product-based assessment, you will create an informative infographic on the proper use of social media. The purpose is to educate Grade 8 students about responsible and safe practices when using social media platforms. The infographic should be visually appealing and engaging, presenting key information in a clear and concise manner.
Materials:
Computer or laptop with graphic design software (e.g., Adobe Illustrator, Canva, or PowerPoint)
Internet access for research (optional)
Pen and paper for brainstorming (optional)
Process/ Mechanics:
Research and Brainstorming:
Start by researching and gathering information about the proper use of social media. Ensure the sources are reliable and up-to-date.
Identify the most important points that Grade 8 students should know, such as privacy settings, cyberbullying, online etiquette, and the impact of social media on mental health.
Create a rough outline or mind map of the information you want to include in your infographic.
Design and Layout Creation:
Open your chosen graphic design software or PowerPoint presentation.
Determine the dimensions of your infographic. A typical size is 800 pixels wide and 2000 pixels tall.
Divide your infographic into sections or columns to organize the information effectively.
Utilize appropriate colors, fonts, icons, and images to make your infographic visually appealing and easy to understand.
Include catchy headings, subheadings, and bullet points to present information in a concise and engaging way.
Incorporate relevant statistics or data to support your points.
Review, Revise, and Finalize:
Review your infographic for clarity, accuracy, and grammar.
Ask for feedback from your peers or teachers to ensure the content is clear and understandable.
Revise and make necessary adjustments based on the feedback received.
Double-check the design elements, ensuring they enhance the readability and aesthetics of the infographic.
Proofread the text for any spelling or grammatical errors.
Save your final infographic in a suitable file format (e.g., JPEG or PNG).
Presentation and Submission:
Prepare to present your infographic to your classmates and teacher.
Explain the key points and why they are essential in the context of social media.
Submit the infographic according to your teacher's instructions, either physically or digitally.
Tips & Reminders:
Keep the information concise and easy to understand.
Use visuals, such as icons or images, to enhance the appeal and comprehension of the infographic.
Ensure the design is visually appealing but not overwhelming or cluttered.
Use appropriate color schemes and fonts that are easy to read.
Cite your sources if you include any specific information or statistics.
Time frame:
This task is expected to be completed within a period of 2 weeks.
Submission:
Submit your final infographic in the intended Google Classroom for your ICT Subject. Ensure the submission is in the required format, such as printed or digital file.t
RUBRICS:
Instructions: Rate the infographic with the use of this rubric as it provides clear descriptors that indicate the level of achievement for each performance level. The point values assigned to each level of achievement can vary depending on the importance and complexity of the criterion.
Criteria
Excellent (4 points)
Good (3 points)
Fair (2 points)
Poor (1 point)
Content
Accurate and comprehensive
Mostly accurate and complete
Partially accurate or limited
Inaccurate or lacking content
Organization
Clear and logical structure
Mostly clear and organized
Some organization issues
Disorganized
Visual Appeal
Highly engaging and visually appealing
Moderately engaging and visually appealing
Somewhat engaging or visually appealing
Not visually appealing or engaging
Design Elements
Effective use of color, fonts, and graphics
Adequate use of color, fonts, and graphics
Limited use of color, fonts, and graphics
Ineffective use of color, fonts, and graphics
Readability
Text is clear and easy to read
Text is mostly clear and readable
Some issues with readability
Text is difficult to read
Grammar and Spelling
No grammatical or spelling errors
Few grammatical or spelling errors
Some grammatical or spelling errors
Numerous grammatical or spelling errors
REFERENCES:
Online Sources:
Boyd, D. (2014). It's complicated: The social lives of networked teens. Yale University Press.
Retrieved from https://www.danah.org/books/ItsComplicated.pdf
Common Sense Media. (n.d.). Social media, social life: How teens view their digital lives.
Retrieved from https://www.commonsensemedia.org/research/social-media-social-life-how-teens-view-their-digital-lives
Pew Research Center. (2021). Teens, social media & technology 2021.
Retrieved from https://www.pewresearch.org/internet/2021/08/31/teens-social-media-technology-2021/
Books:
Turkle, S. (2011). Alone together: Why we expect more from technology and less from each other.
Basic Books.
boyd, d., & Ellison, N. B. (Eds.). (2008). Social network sites: Definition, history, and scholarship.
In The Oxford handbook of Internet studies (pp. 137-151). Oxford University Press.
PREPARED BY:
ALAGBAN, PATRICIA ISABEL (patriciaisabel.alagban@ctu.edu.ph)
May 2023
This work is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/.
Product Based Assessment
Subject: Technology and Livelihood Education: Information and Communication Technology (ICT)
Grade Level: Grade 8
Topic: Evaluating an infographic about the proper use of social media.
INTENDED LEARNING OUTCOMES:
At the end of the lesson the students with 80% of accuracy should have:
To develop students skills in creating an infographic design.
ASSESSMENT TASK:
Construct an infographic output about the proper use of social media.
INSTRUCTIONS:
In this product-based assessment, you will create an informative infographic on the proper use of social media. The purpose is to educate Grade 8 students about responsible and safe practices when using social media platforms. The infographic should be visually appealing and engaging, presenting key information in a clear and concise manner.
Materials:
Computer or laptop with graphic design software (e.g., Adobe Illustrator, Canva, or PowerPoint)
Internet access for research (optional)
Pen and paper for brainstorming (optional)
Process/ Mechanics:
Research and Brainstorming:
Start by researching and gathering information about the proper use of social media. Ensure the sources are reliable and up-to-date.
Identify the most important points that Grade 8 students should know, such as privacy settings, cyberbullying, online etiquette, and the impact of social media on mental health.
Create a rough outline or mind map of the information you want to include in your infographic.
Design and Layout Creation:
Open your chosen graphic design software or PowerPoint presentation.
Determine the dimensions of your infographic. A typical size is 800 pixels wide and 2000 pixels tall.
Divide your infographic into sections or columns to organize the information effectively.
Utilize appropriate colors, fonts, icons, and images to make your infographic visually appealing and easy to understand.
Include catchy headings, subheadings, and bullet points to present information in a concise and engaging way.
Incorporate relevant statistics or data to support your points.
Review, Revise, and Finalize:
Review your infographic for clarity, accuracy, and grammar.
Ask for feedback from your peers or teachers to ensure the content is clear and understandable.
Revise and make necessary adjustments based on the feedback received.
Double-check the design elements, ensuring they enhance the readability and aesthetics of the infographic.
Proofread the text for any spelling or grammatical errors.
Save your final infographic in a suitable file format (e.g., JPEG or PNG).
Presentation and Submission:
Prepare to present your infographic to your classmates and teacher.
Explain the key points and why they are essential in the context of social media.
Submit the infographic according to your teacher's instructions, either physically or digitally.
Tips & Reminders:
Keep the information concise and easy to understand.
Use visuals, such as icons or images, to enhance the appeal and comprehension of the infographic.
Ensure the design is visually appealing but not overwhelming or cluttered.
Use appropriate color schemes and fonts that are easy to read.
Cite your sources if you include any specific information or statistics.
Time frame:
This task is expected to be completed within a period of 2 weeks.
Submission:
Submit your final infographic in the intended Google Classroom for your ICT Subject. Ensure the submission is in the required format, such as printed or digital file.t
RUBRICS:
Instructions: Rate the infographic with the use of this rubric as it provides clear descriptors that indicate the level of achievement for each performance level. The point values assigned to each level of achievement can vary depending on the importance and complexity of the criterion.
Criteria
Excellent (4 points)
Good (3 points)
Fair (2 points)
Poor (1 point)
Content
Accurate and comprehensive
Mostly accurate and complete
Partially accurate or limited
Inaccurate or lacking content
Organization
Clear and logical structure
Mostly clear and organized
Some organization issues
Disorganized
Visual Appeal
Highly engaging and visually appealing
Moderately engaging and visually appealing
Somewhat engaging or visually appealing
Not visually appealing or engaging
Design Elements
Effective use of color, fonts, and graphics
Adequate use of color, fonts, and graphics
Limited use of color, fonts, and graphics
Ineffective use of color, fonts, and graphics
Readability
Text is clear and easy to read
Text is mostly clear and readable
Some issues with readability
Text is difficult to read
Grammar and Spelling
No grammatical or spelling errors
Few grammatical or spelling errors
Some grammatical or spelling errors
Numerous grammatical or spelling errors
REFERENCES:
Online Sources:
Boyd, D. (2014). It's complicated: The social lives of networked teens. Yale University Press.
Retrieved from https://www.danah.org/books/ItsComplicated.pdf
Common Sense Media. (n.d.). Social media, social life: How teens view their digital lives.
Retrieved from https://www.commonsensemedia.org/research/social-media-social-life-how-teens-view-their-digital-lives
Pew Research Center. (2021). Teens, social media & technology 2021.
Retrieved from https://www.pewresearch.org/internet/2021/08/31/teens-social-media-technology-2021/
Books:
Turkle, S. (2011). Alone together: Why we expect more from technology and less from each other.
Basic Books.
boyd, d., & Ellison, N. B. (Eds.). (2008). Social network sites: Definition, history, and scholarship.
In The Oxford handbook of Internet studies (pp. 137-151). Oxford University Press.
PREPARED BY:
ALAGBAN, PATRICIA ISABEL (patriciaisabel.alagban@ctu.edu.ph)
May 2023
This work is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/.
|
oercommons
|
2025-03-18T00:34:23.511848
|
06/14/2023
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/105252/overview",
"title": "PRODUCT BASED ASSESSMENT",
"author": "Patricia Isabel Alagban"
}
|
https://oercommons.org/courseware/lesson/117641/overview
|
Types of Bridges Lesson Plan. Gr. 6
Overview
This Piktochart contains lesson plan information for teaching middle school age students about the engineering design process and bridge design.
Students will be able to:
Describe and identify the most common types of bridges.
Describe the strenghths and weaknesses of each type of bridge.
Explain constraints and tension and show how it works on each bridge type.
Construct a bridge using one of the common bridge types that can support a predetermined amount of weight.
Included in this Piktochart Lesson Plan
1. Definition of types of bridges
2. Example sketches of types of bridges (Google Slide Format)
3. Quick Design Paper Bridge Challenge
Lesson Plan - Piktochart with links
This Piktochart contains lesson plan information for teaching middle school age students about the engineering design process and bridge design.
Students will be able to:
Describe and identify the most common types of bridges.
Describe the strenghths and weaknesses of each type of bridge.
Explain constraints and tension and show how it works on each bridge type.
Construct a bridge using one of the common bridge types that can support a predetermined amount of weight.
|
oercommons
|
2025-03-18T00:34:23.527029
|
07/05/2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/117641/overview",
"title": "Types of Bridges Lesson Plan. Gr. 6",
"author": "Jacqueline Osterhout"
}
|
https://oercommons.org/courseware/lesson/27487/overview
|
OSP NGSS4Oregon Module #2 - Talk & Equity (Kathryn & Jennie)
Overview
The Oregon Science Project Module #2 is designed for K-12 and nonformal educators who want to learn more about NGSS, with an emphasis on the central role student discourse and talk play in the K-12 NGSS classroom. It is designed to provide 3-4 hours of work and asks learners to create something new to contribute to the work.
Who talks and why?
Engaging All Students
Why Is Science Talk Important? Individual Work
C
Module #2 Components:
Task #1 - Why is Science Talk Important? Individual Work
Task #2 - Why is Science Talk Important? Group Reflection and Discussion
Task #3 - What Does Science Talk in the Classroom Look Like? Individual Work
Task #4 - What Does Science Talk in the Classroom Look Like? Group Reflection and Discussion
Task #5 - How Do We Increase Science Talk? How Do We Show Others? Individual Work
Task #6 - How Do We Increase Science Talk? How Do We Show Others? Group Reflection and Discussion
On Your Own:
Components: Readings, visuals, and survey response to prepare for Task #2 Relevance: Choose between primary, elementary, and secondary options Preparation: This individual work portion prepares you to engage in reflective discussion with a small group in Task #2
Questions driving our work together in this module:
Q: Why is it important to engage all of our students in science talk?
Q: How do students engage in talk during science in your classroom (what protocols, norms, or framing do you use)?
Q: How would you like them to engage?
Students' attitude, motivation, and identity greatly impact how, and if, they participate productively in science in the classroom. The impact of these traits on student learning vary greatly K-12. Research also shows that it is the teacher's framing of the classroom that is essentail for promoting students' feeling of belonging and participation necessary for them to share their ideas and make their thinking public.
"I can do science."
"I want to do science."
"I belong."
Please click on the resources below that best relate to your practice and interests. As you engage with them, think about how you frame your classroom to promote productive participation for your students, and what is needed to include more students. You will need to use these resources to complete Survey #1 at the end of this task below. Once you have completed that survey, you can proceed to Task #2.
Primary Resources to Complete this Task
Upper Elementary Resources to Complete this Task
Secondary Resources to Complete this Task
Survey #1 - complete after engaging with relevant resources
Why is Science Talk Important? Group Reflection and Discussion
c
In A Small Group:
Components: Survey with question prompts to drive reflective discussion. Every person completes their own survey. Relevance: Although the resources vary by grade level, this group task is not grade-level specific.
Bring your thinking and reflections from Task 1 so you are ready to contribute to the group discussion. Please collaboratively complete the survey by discussing questions together as each of you fills out your own survey.
Survey #2 Why is Science Talk Important? Group Reflection and Discussion
What Does Science Talk in the Classroom Look Like? Individual Work
c
On Your Own:
Components: Grade-appropriate video examples and resources (NO SURVEY) Relevance: Choose between primary, elementary, and secondary options Preparation: This individual work portion prepares you to engage in reflective group discussion
"Instruction can be designed in ways that foster a positive orientation toward science and promote productive participation in science classrooms. Such approaches include offering choice, providing meaningful tasks and an appropriate level of challenge, giving students authority over their learning while making sure their work can be examined by others, and making sure they have access to the resources they need to evaluate their claims and communicate them to others." - Taking Science to School.
Questions from prior work continues to drive your discussion and should be considered as you engage with the materials below:
Q: Why is it important to engage all of our students in science talk?
Q: How do students engage in talk during science in your classroom (what protocols, norms, or framing do you use)?
Q: How would you like them to engage?
Please select the grade level that is most relevant for your practice and watch all video segments and engage with any readings or articles. Be ready to bring your observations and questions to your small group discussion in Task #4.
As you engage, make connections to your own practice and your vision for increased productive participation by more of your students.
Primary Grades
Upper Elementary
Talk Moves Primer (read pages 7-11)
Secondary
Discourse Primer (read pages 5-14 paying attention to "discourse moves")
There is no survey for this task. Be ready to engage in active discussion around what talk looks like for the next task.
What Does Science Talk in the Classroom Look Like? Group Reflection and Discussion
c
In A Small Group:
Components: Survey with question prompts to drive reflective discussion. Every person completes their own survey. Relevance: Although the resources vary by grade level, this group task is not grade-level specific.
As a small group, please collaboratively complete the survey by discussing questions together as each of you fills out your own survey. Be sure to bring in your impressions, observations, and wonderings prompted by the resources in Task #3.
Survey #3 Group Reflection and Individual Survey
How Do We Increase Student Science Talk? How Do We Show Others? Individual Work
c
On Your Own:
Components: Blog post reading, task analysis survey, exploration of gradeband NGSS storylines Preparation: This individual work portion prepares you to engage in reflective group discussion
When we think of framing we are referring to "a set of expectations an individual has about the situation in which she finds herself that affects what she notices and how she thinks to act." - Resources, Framing, and Transfer
Please read this short blog post comparing two different classrooms using the idea of framing to set the context for student exploration, learning, and understanding of what they are learning in science as envisioned by the NGSS.
Look at these norms and think of your own classroom. As you set the context and frame your classroom for productive participation, look closely to see how you are asking students to productively participate. Below is an example from the Inquiry Project where teachers worked collaboratively when approaching their students to develop norms for equitable participation.
Please complete this task analysis survey below on your own by imagining a hypothetical group of students. Please consider a group of students engaged in the task who are similar to students you work with in your own practice. How can the NGSS practices guide planning for rich language use and development by students? One tool that can help us is a task analysis process.
Please read the first pages of a relevant grade and/or core idea storyline below in preparation to think about a relevant task to create and analyze that could provide opportunities for productive participation by students by engaging them in NGSS practices. Remember, the task should be very small requiring only 10-20 minutes of work by students. Any larger grain size of task and the task analysis is no longer a useful tool. We are having you use the storyline as a tool because it covers the core ideas of your grade(s) and lets us connect to our ideas of hands-on explorations. You are also welcome to go further into the documents and work from a performance expectation, but the task for this must be at a very small grain size in comparison to the gigantic performance expectations. You will be crafting the task with the support of your small group in Task #6.
NGSS Storylines
How Do We Increase Student Science Talk? How Do We Show Others? Group Reflection and Discussion
c
In a Small Group:
Components: Two surveys to drive reflection and creation.
Collaboratively complete Survey #4. Utilizing your experience learning more about framing, productive partcipation norms, and task analysis please collaboratively go through Survey #4 below. One at a time each participant should share their draft ideas for a task they planned on their own in Task 5. You will submit your task (remember small grain size!) on this survey and you will be able to see others' tasks as well.
Survey #4: Collaborative Survey for Task Creation
Here is an image of the 3 dimensions to quickly reference as you create your tasks.
Collaboratively complete Survey #5. Each person will have the group analyze their newly created task and then each person submits their survey for their task only. Directions on survey.
Survey #5: Collaborative Survey for Analysis of Your Tasks
Once everyone has completed the surveys and the discussion has wrapped up:
Look at the collective responses and discuss how you could use this in your practice to communicate the importance of talk in the science classroom.
|
oercommons
|
2025-03-18T00:34:23.553986
|
Jennie Richard
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/27487/overview",
"title": "OSP NGSS4Oregon Module #2 - Talk & Equity (Kathryn & Jennie)",
"author": "Module"
}
|
https://oercommons.org/courseware/lesson/74576/overview
|
Education Standards
Virtual Lesson Planner
Overview
VLP template for practicum 2020-2 student teachers
Introduction
Welcome to our Virtual Lesson Planner dear student teachers 2020-2 !
Create and share your VLPs with an international community of OER expert teachers !
Pre-activities
Pre-activities
Input: receptive skills (Listening & Reading: gaming)
While-activities
While-activities
Output: productive skills (Speaking & Writing)
Post-activities
Post-activities
Intake: interactional skills (Oral Interaction & Writing Interaction)
|
oercommons
|
2025-03-18T00:34:23.574353
|
11/11/2020
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/74576/overview",
"title": "Virtual Lesson Planner",
"author": "Fernando Fernandez"
}
|
https://oercommons.org/courseware/lesson/74184/overview
|
EduGorilla Community
Overview
EduGorilla works in multiple educational sectors but its highly focused area is test series. It is India’s largest test series provider for 1250+ exams conducted throughout the country including a few abroad exams also. EduGorilla helps aspiring students to accomplish their dreams with its highly recommended mock tests and online test series.
EduGorilla Community
EduGorilla Community is a multi-disciplinary education company that is headquartered in Lucknow. Founded in December 2016 by Mr. Rohit Manglik, an alumnus of NIT Surathkal and the youngest Educationist Speaker at the 11th World Education Summit, Dubai, EduGorilla stands as a paragon in the online education segment. It provides manifold educational services like test series for numerous competitive exams, an exhaustive database of best schools and coaching institutes, career counseling, white-label solutions, etc. Among all, mock tests and online test series are the benchmarks of EduGorilla’s extensive learning resources. Acting as an exemplar in digital learning, EduGorilla has set a milestone with a strong database of 1250+ exams, 2 crores+ users, 39890+ tests, and counting. With its outstanding endeavors in online learning, EduGorilla has completely transformed the educational landscape of India. It is a team of eminent experts who are highly concentrated to make learning more interesting and enjoyable. EduGorilla is one of the fastest-growing educational organizations in India and it can be seen clearly as to how it is attracting investors to add to its capital.
|
oercommons
|
2025-03-18T00:34:23.586859
|
11/02/2020
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/74184/overview",
"title": "EduGorilla Community",
"author": "EduGorilla Community"
}
|
https://oercommons.org/courseware/lesson/52110/overview
|
Experimenting with OER Overview Hello I am just looking into this section This is a section this is student content
|
oercommons
|
2025-03-18T00:34:23.610458
|
Gordon Marks
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/52110/overview",
"title": "Experimenting with OER",
"author": "Module"
}
|
https://oercommons.org/courseware/lesson/16067/overview
|
Oregon Coast Science Project Module 2 Tasks 1 & 2 - Talk & Equity
Overview
The Oregon Science Project Module #2 is designed for K-12 and nonformal educators who want to learn more about NGSS, with an emphasis on the central role student discourse and talk play in the K-12 NGSS classroom. It is designed to provide 3-4 hours of work and asks learners to create something new to contribute to the work.
Who talks and why?
Engaging All Students
Why Is Science Talk Important? Individual Work
Tips for Success:
Have a copy of Survey 1 open as you work through Task 1.
Be sure to have Survey 1 done by our next meeting.
Module 2 Components:
Task 1 - Why is Science Talk Important? Individual Work
Task 2 - Why is Science Talk Important? Group Reflection and Discussion
On Your Own:
Components: Readings, visuals, and survey response to prepare for Task 2 Relevance: Choose between primary, elementary, and secondary options Preparation: This individual work portion prepares you to engage in reflective discussion with a small group in Task 2
Questions driving our work together in this module:
Q: Why is it important to engage all of our students in science talk?
Q: How do students engage in talk during science in your classroom (what protocols, norms, or framing do you use)?
Q: How would you like them to engage?
Students' attitude, motivation, and identity grealy impact how, and if, they participate productively in science in the classroom. The impact of these traits on student learning vary greatly K-12. Research also shows that it is the teacher's framing of the classroom that is essentail for promoting students' feeling of belonging and participation necessary for them to share their ideas and make their thinking public.
"I can do science."
"I want to do science."
"I belong."
Please click on the resources below that best relate to your practice and interests. As you engage with them, think about how you frame your classroom to promote productive participation for your students, and what is needed to include more students. You will need to use these resources to complete Survey 1 at the end of this task below.
Primary Resources to Complete this Task
Upper Elementary Resources to Complete this Task
Secondary Resources to Complete this Task
Survey 1 - complete after engaging with relevant resources
Why is Science Talk Important? Group Reflection and Discussion
Be sure to refresh your memory on Task 1!
In A Small Group:
Components: Survey with question prompts to drive reflective discussion. Every person completes their own survey. Relevance: Although the resources vary by grade level, this group task is not grade-level specific.
Bring your thinking and reflections from Task 1 so you are ready to contribute to the group discussion. Please collaboratively complete the survey by discussing questions together as each of you fills out your own survey.
|
oercommons
|
2025-03-18T00:34:23.627669
|
Cristina Trecha
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/16067/overview",
"title": "Oregon Coast Science Project Module 2 Tasks 1 & 2 - Talk & Equity",
"author": "Kama Almasi"
}
|
https://oercommons.org/courseware/lesson/17621/overview
|
Appendix E: Progressions Within the NGSS
Appendix F: NGSS Practices
Asking Questions - Appendix F: Science and Engineering Practices in the NGSS
Chapter 11: NRC Framework
Developing and Using Models - A Snippet from the NRC Framework
Google Map Instructions
Matrix of NGSS Crosscutting Concepts
Our Community Map
Reasoning Triangle
Science Flowchart (Dynamic)
Science Flowchart (Static)
Survey 1
Survey 2
Survey 3A
Survey 3B
Survey 4
Survey #5
Survey #6
Oregon Science Project Hybrid NGSS Module #1 - Phenomena & Equity
Overview
The Oregon Science Project Module #1 is designed for K-12 and nonformal educators who want to learn more about NGSS, with an emphasis on how the shift to sense-making around phenomena is at the heart of the NGSS. It is designed to provide 3-4 hours of work and asks learners to create something new to contribute to the work.
Why Teach Science?
Why Teach Science?
Overview of Module 1 Tasks
Important Dates:
Due by Mid - November
Overview of Module 1 Tasks
- Task 1: Why Teach Science?
- Task 2: Why Teach Science in our Community?
- Task 3: How Science Works
- Task 4: Science as Process
- Task 5: The Process of Science in the Classroom
- Task 6: Making Thinking Visible Through Productive Discourse in the NGSS Classroom
- Task 7: Equity in the Framework & NGSS-Inspired Classroom
"A Framework for K-12 Science Education (hereafter referred to as the Framework) and the Next Generation Science Standards (hereafter referred to as the NGSS) describe aspirations for students’ learning in science that are based on key insights from research:
- that science learning involves the integration of knowing and doing
- that developing conceptual understanding through engaging in the practices of science is more productive for future learning than simply memorizing lists of facts
- that science learning is best supported when learning experiences are designed to build and revise understanding over time"
- Science Teachers' Learning: Enhancing Opportunities, Creating Supportive Contexts (2015)
Estimated time: 10 minutes Components: small group discussion, survey response to statements about teaching science
Here is a link to the results in case you want to look back in your own response again.
Group Instructions (Each person submits their own survey)
Every Participant: Open "Survey #1"
Reading for Understanding - Discussing the statements:
- Starting with the statement at the top left and going down one by one:
- One person reads the statement out loud
- Each person shares their thoughts about why the statement is important
Reading to Rank - Ranking the statements:
- Each person shares which statement is the most important to them and why
- All members of the group can question or press for reasoning, but please approach this discussion with the knowledge that another person's rationale may actually make you change your mind.
- As you discuss your rankings, each participants completes their own survey with their own answers and hits submit.
Discussing the results
- Once you have all submitted and see the collective results of those who completed it before you: share surprises or wonderings you have about how your individual and group ranking compares to the collective responses
Individual Instructions
Rank the five different reasons listed that argue for why we should teach science K-12.
One you have completed this survey you will see all of the other participants' responses who have completed it before you.
Why Teach Science in Our Community?
Why Teach Science in Our Community?
"In addition to being the center of most youth’s social world, schools often function as the center of community life and the primary institutions that maintain and transmit local community values to youth." - Devora Shamah Katherine A. MacTavish from Making Room for Place-Based Knowledge in Rural Classrooms
Approximate time: 5-10 minutes Components: Google Map activity
Every Participant Open: "Our Community Map"
- Create an orange marker
- Place yourself on the Google Map
Include the following information in the description accompanying your marker:
- First Name
- Last Name
- Picture of yourself (that you like - could even be of you and your students)
- Grade(s) you teach
- School
- District
- Role (i.e. teacher, PD provider, or coach)
- Institution
- One reason that a high quality science education for ALL students is important for your community
If you are new to creating a location and description on Google Maps, please open "Google Map Instructions" and watch the short how-to video.
How Science Works
How Science Works
Overview of Module 1 Tasks
- Task 1: Why Teach Science?
- Task 2: Why Teach Science in our Community?
- Task 3: How Science Works
- Task 4: Science as Process
- Task 5: The Process of Science in the Classroom
- Task 6: Making Thinking Visible Through Productive Discourse in the NGSS Classroom
- Task 7: Equity in the Framework & NGSS-Inspired Classroom
"Before one can discuss the teaching and learning of science, consensus is needed about what science is." - Taking Science to School
Approximate time: 25-30 minutes Components: video, small group discussions, survey response
Group Instructions
Video
One participant shares their screen choosing the option to show their internet browser. Scroll down to the video below so that all participants can watch the video below together. Before you start, be sure to prepare to listen for:
- How scientists - and science educators - discuss how science works
- Ways that scientists use evidence to craft arguments
- How scientists reason with evidence
One participant opens "Science Flowchart (Dynamic)" and shares their screen so that everyone can see.
- The person sharing their screen slowly mouses over the different parts of the flowchart.
- The group discusses the different parts of the flowchart ensuring that everyone has seen all of the different spheres.
- Once you have done that, stop screen sharing and gather together again.
Each participant opens "Appendix F: NGSS Practices"
- It may be helpful to minimize your screens so you can easily switch between the different resources on your own during your discussion.
- As a group, discuss where each practice could fit on the flowchart and why, or why not.
- Refer back to the video (or even watch it again) to help you think about this overlap.
Each participant opens "Matrix of NGSS Crosscutting Concepts"
- As a group, discuss where each NGSS Crosscutting Concept could fit on the flowchart and why, or why not.
- Refer back to the video (or even watch it again) to help you think about this overlap or lack of overlap.
Each participant opens "Survey #2" on their own device
- In your group, discuss each prompt on the survey using the science flowchart to guide your discussion about how science works.
- Include material from the video (quotes, ideas, stories, claims, etc.) in your responses.
- Each participant completes and submits their own survey.
Individual Instructions
Watch the video below at least once and listen for:
- How these scientists - and science educators - discuss how science works
- Ways that scientists use evidence to craft arguments
- How scientists reason with evidence
Open "Survey #2" and respond the prompts about the process of science as explored in this video. In your responses be sure to include:
- Material from the video (quotes, ideas, stories, claims, etc.)
- Language from the Science Flowchart
- Open up "NGSS Practices" to help you compare and contrast professional science and classroom science.
- Open up "Matrix of Crosscutting Concepts" to help you compare and contrast professional science and classroom science.
- Submit your survey
Science as Process
Science as Process
Overview of Module 1 Tasks
- Task 1: Why Teach Science?
- Task 2: Why Teach Science in our Community?
- Task 3: How Science Works
- Task 4: Science as Process
- Task 5: The Process of Science in the Classroom
- Task 6: Making Thinking Visible Through Productive Discourse in the NGSS Classroom
- Task 7: Equity in the Framework & NGSS-Inspired Classroom
"Experiment has been widely viewed as a fundamental characteristic of science...However, if we look at science as a process of argument, experiment becomes one of the measures that provide scientists with insights and justification for their arguments."
Approximate time: 20-25 minutes Components: reading, ssmall group discussion, survey response
Research from the history and philosphy of science identifies that science can be a process of logical reasoning about evidence, and a process of theory change that both require participation in the culture of scientific practices. In the teaching of science, the Framework and NGSS ask us to shift our focus away from memorization of vocabulary, to thinking of science as a process of application of knowledge and concepts via model-based reasoning.
As you can see from the screen shot of NGSS Appendix A below, this is identified as the first shift on the list of the seven major shifts in science education as envisioned by the Framework & the NGSS.
Each participant open "Appendix A: Conceptual Shifts in the NGSS"
- Each person opens Appendix A on their own device and quickly skims the document to identify two different conceptual shift statements on the list that they would like to explore further. (i.e. shift #2 and shift #5)
- One by one, each participant shares their chosen two shift statements with the group and explains why they are interested in these shifts.
- Each participant then silently reads the text below each of your chosen shifts statements.
Each participant opens "Survey 3" on their own device
- Each participant fills out the survey based upon what they shared with the group.
- As a group, discuss each of the specific group prompts on the survey before each of you complete your survey.
Discussing the results
- Once you submit your individual responses, select the link to see all previous responses.
- Read the collective responses and share surprises or wonderings you have about how your individual and group ranking compares to the collective responses.
- Share ideas about resources you could seek out to find out more.
Individual Instructions (temporary and only for this early draft, please try to work in small regional group with at least two other OSP Learning Facilitators if possible)Open Appendix A: Conceptual Shifts in the NGSS
- Identify two different conceptual shifts on the list that you would like to explore further
- Read the text below each of your chosen shifts
Open "Survey #3" and respond to the prompts about the NGSS shifts you chose to read about.
The Process of Science in the Classroom
The Process of Science in the Classroom
Overview of Module 1 Tasks
- Task 1: Why Teach Science?
- Task 2: Why Teach Science in our Community?
- Task 3: How Science Works
- Task 4: Science as Process
- Task 5: The Process of Science in the Classroom
- Task 6: Making Thinking Visible Through Productive Discourse in the NGSS Classroom
- Task 7: Equity in the Framework & NGSS-Inspired Classroom
"...in learning science one must come to understand both the body of knowledge and the process by which this knowledge is established, extended, refined, and revised." - Taking Science to School
Approximate time: 30-40 minutes Components: video, reading, small group discussion, survey response
Group Instructions
One participant shares their screen and everyone watches the video below. The group actively listens for the role of phenomena in the Framework and NGSS inspired classroom. After the video ends, stop screen sharing and gather together as a group to engage in discussion.
Each member of the group silently reads the brief statements below.
Each participant opens "Appendix E: Progressions within NGSS"
- Read the first page.
- On your own, find your grade or grade band in document and explore the Disciplinary Core Ideas (DCI) covered in the NGSS vision.
- Discuss with your what you think the difference between a phenomena and an NGSS Disciplinary Core Idea. What are some key differences?
- Find an example DCI from your gradeband in the life, physical, or earth/space sciences and think of a scientific phenomena that relates to that core idea. Share your idea with the group.
One participant opens the "Reasoning Triangle" and shares their screen.
- As a group, discuss the three parts of the tool and the role you see them playing the science classroom.
- Each person shares an example of when you have started an activity, exploration, or unit with a question.
- Each person shares an example of when you have started with a phenomenon.
- How do you think this tool changes your approach or thinking about phenomena, questions, and modeling?
- Stop screen sharing
One person in the group open Survey #4A and shares the screen so all participants can see and answer as a group and submit one survey.
- As a group, select if you think the statement is a phenomena or NGSS Disciplinary Core Idea.
- If you think it's a phenomenon, utilize the language of the Reasoning Triangle to justify your ideas.
- Once you submit your group submits your response, select the link to see all previous responses.
- Does your group agree or disagree with the previous responses?
- Find a response that is different than your group's response and discuss what their response tells you about their understanding of the statement. What does it tell you about your understanding of the statement? Your understanding of phenomena or DCI's?
- If you want to revise your thinking, simply go back in and you can edit your response. Please only edit if your thinking has truly changed and you'd like to rethink it!
Repeat for survey 4B and rotate the responsibility to share the screen during your discussion.
Individual Instructions (temporary and only for this early draft, please try to work in small regional group with at least two other OSP Learning Facilitators if possible)Open Appendix A: Conceptual Shifts in the NGSS
Watch the video below and listen for the role of phenomena in the Framework and NGSS inspired classroom.
Read the brief statements below the video about phenomena.
Open Appendix E: Progressions within NGSS
- Read the first page
- Find your grade or grade band in document and explore the Disciplinary Core Ideas covered in the NGSS vision
Open and complete survey 4B (they are each just 2 questions). In each survey:
- Select if the statement is a phenomena or NGSS Disciplinary Core Idea
- If you think it's a phenomenon, utilize the Reasoning Triangle to justify your ideas
- Once you submit your response, you will see all previous responses and reasoning
Making Thinking Visible through Productive Discourse in the NGSS Classroom
Making Thinking Visible
Overview of Module 1 Tasks
- Task 1: Why Teach Science?
- Task 2: Why Teach Science in our Community?
- Task 3: How Science Works
- Task 4: Science as Process
- Task 5: The Process of Science in the Classroom
- Task 6: Making Thinking Visible Through Productive Discourse in the NGSS Classroom
- Task 7: Equity in the Framework & NGSS-Inspired Classroom
"Fostering thinking requires making thinking visible. Thinking happens mostly in our heads, invisible to others and even to ourselves. Effective thinkers make their thinking visible, meaning they externalize their thoughts through speaking, writing, drawing, or some other method. They can then direct and improve those thoughts." - Ron Ritchhart and David Perkins
Approximate time:45 minutes Components: Watch two videos (both Part 1 & 2), discussion, survey response
Each participant opens and reads to themselves: "Asking Questions - Appendix F: Science and Engineering Practices in the NGSS"
Each participant opens and reads to themselves: "Developing and Using Models - A Snippet from the NRC Framework"
As a group: decide which two-part video set you will watch (choose elementary or high school).
Watch Part 1 AND Part 2 of either the high school OR elementary video cases below.
Listen and watch for:
- What phenomena the students are trying to figure out
- How it seems that this phenomena was presented to them (i.e. hands-on experience, video, picture, scenario, reading, statement ,etc.)
- The sets of ideas, or models, that the students are using to make sense of the phenomena
- How the classroom culture provides a safe space for students to:
- Engage in productive discourse
- Make their ideas public and visible
- Revise their ideas
- Ask questions
- Develop and use models
ELEMENTARY VIDEOS
HIGH SCHOOL VIDEOS
One person opens "Survey #5" and leads the group in filling out one survey.
Before responding to each prompt, discuss as a group what you would like to contribute. Let the survey questions provide you with prompts for your discussion.
- Respond to the prompts about how the classroom examples engage students in sense-making around scientific phenomena.
- Utilize the Reasoning Triangle as a thinking tool to show the dynamic relationship between exploring a phenomena through asking questions and modeling.
Individual Instructions (temporary and only for this early draft, please try to work in small regional group with at least two other OSP Learning Facilitators if possible)Open Appendix A: Conceptual Shifts in the NGSSread "Asking Questions - Appendix F: Science and Engineering Practices in the NGSS"
Read "Developing and Using Models - A Snippet from the NRC Framework"
Watch Part 1 AND Part 2 of either the high school OR elementary video cases below. Listen and watch for:
- What phenomena the students are trying to figure out
- How it seems that this phenomena was presented to them (i.e. hands-on experience, video, picture, scenario, reading, statement ,etc.)
- The sets of ideas, or models, that the students are using to make sense of the phenomena
- How the classroom culture provides a safe space for students to:
- Engage in productive discourse
- Make their ideas public and visible
- Revise their ideas
- Ask questions
- Develop and use models
Open Survey #5 below.
- Respond to the prompts about how the classroom examples engage students in sense-making around scientific phenomena.
- Utilize the Reasoning Triangle as a thinking tool to show the dynamic relationship between exploring a phenomena through asking questions and modeling
Equity in the Framework & NGSS-Inspired Classroom
Equity in the Framework & NGSS-Inspired Classroom
"..equity is not a singular moment in time, nor is it an individual endeavor. It takes an educational system and groups of individuals in this system. This includes the school administration and community, school partners, community agencies and families as well as curriculum developers and professional development facilitators to work toward, promote, and maintain a focus on equity." - Gallard, Mensah, and Pitts from Supporting the Implementation of Equity
Approximate time: 20-30 minutes Components: reading, survey response
Each participant opens "Chapter 11: NRC Framework" and skims the chapter by scrolling through it online.
Every member of the group picks and chooses different parts of the chapter that they are interested in reading and find relevant for their practice or their context.
As you read:
- Find three things you have learned (keep reading and exploring the text until you find three things new to you)
- Look for two things you found very interesting and would like to discuss with your group.
- Come up with one question you have about equity in the NGSS classroom.
Each participant opens Survey #6.
As a small group each participant shares their responses as the group goes through each prompt.
Once you hit submit, choose to see the previous responses and, as a group, discuss how they were similar or different than your own responses.
One person shares their screen and the group watches the video below.
As Oregon Science Project NGSS Learning Facilitators you are an advocate for science, especially an advocate for science in elementary. It's important that all secondary teachers get a glimpse of what NGSS can look like in the elementary classroom. Science in elementary is a large equity issue in Oregon where we are 50th in the nation for time spent teaching science K-5.
In your group, discuss the implications for NGSS's emphasis on equity and increasing access to engaging and rich science experiences for more of Oregon's students.
Each participant opens Survey #7 and reflects on the prompt in a small group discussion, and then submits their own response.
Once you have submitted all your responses, please choose to see collective responses and find similarities and differences between our shared thinking.
|
oercommons
|
2025-03-18T00:34:23.693485
|
Cristina Trecha
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/17621/overview",
"title": "Oregon Science Project Hybrid NGSS Module #1 - Phenomena & Equity",
"author": "Robert Fairchild"
}
|
https://oercommons.org/courseware/lesson/18203/overview
|
Example for Showing How To Publish
Overview
This will be used to show OSP Learning Facilitators how to publish.
test
test
test test
|
oercommons
|
2025-03-18T00:34:23.710641
|
10/27/2017
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/18203/overview",
"title": "Example for Showing How To Publish",
"author": "Cristina Trecha"
}
|
https://oercommons.org/courseware/lesson/110795/overview
|
استبانة البحث المنشور
Overview
الاستبانة بعد التعديل
استبانة البحث المنشور
الاستبانة بعد التعديل
استبانة البحث المنشور
|
oercommons
|
2025-03-18T00:34:23.730591
|
12/06/2023
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/110795/overview",
"title": "استبانة البحث المنشور",
"author": "Reham Alhemyari"
}
|
https://oercommons.org/courseware/lesson/60239/overview
|
Likelihood Statements
Two Events Likelihood Line
Probability As A Measure Of Likelihood
Overview
Students will begin to think about probability by considering how likely it is that their house will be struck by lightning. They will consider the relative likelihood of familiar events (e.g., outdoor temperature, test scores) on the continuum between impossible and certain. Students will discuss where on the continuum "likely," "unlikely," and "equally likely as unlikely" are
Goals and Learning Objectives
- Think about the concept of likelihood.
- Understand that probability is a measure of likelihood.
- Informally estimate the likelihood of certain events.
- Begin to think about why one event is more likely than another.
SWD: Students with disabilities may need additional support seeing the relationships among problems and strategies. Throughout this unit, keep anchor charts available and visible to assist them in making connections and working toward mastery. Provide explicit think alouds comparing strategies and making connections. In addition, ask probing questions to get students to articulate how a peer solved the problem or how one strategy or visual representation is connected or related to another.
Lightning
Lesson Guide
Have students look at the image of lightning and read the question, "How likely do you think it is that your house will be struck by lightning this year?".Have them talk to their partner and then share their responses with the class. Briefly discuss the responses.
Mathematics
During the discussion, ask:
- How did you decide how likely it is that your house would be struck by lightning?
- Can you think of other events that would be about as likely to happen?
ELL: Be sure that your pace is appropriate when posing these questions, especially when interacting with ELLs.
Opening
Lightning
Think about this question, and then discuss your ideas with a partner.
- How likely do you think it is that your house will be struck by lightning this year?
Math Mission
Lesson Guide
Discuss the Math Mission. Students will think about what makes one event more likely to occur than another event.
ELL: Identifying key words are crucial for students. Spend some time discussing the key vocabulary in this unit.
Opening
Think about what makes one event more likely to occur than another event.
Struck by Lightning
Lesson Guide
Have students mark the Likelihood Line interactive for the lightning question. Conduct an informal class poll, reminding students of mean and outliers if necessary.
Briefly discuss events that are impossible (e.g., a unicorn will walk into the room) or certain (e.g., the sun will come up tomorrow). (It is interesting to discuss what certain means to students.) Tell students that most events are neither impossible nor certain, but that they can be very unlikely or very likely. If we don't agree that the sun is certain to come up tomorrow, we can agree that it is very likely.
Briefly discuss events that are equally likely as unlikely (students are likely to suggest flipping a coin).
SWD: Familiarize students with the technology tools and ensure students can access the tools on the tablet successfully. Check the settings, adjust for easier usability for all students and customize the display of information.
Answers
- Answers will vary. Students should recognize that this event is very unlikely and place it close to impossible (but not at impossible).
- Answers will vary. As mentioned in the lesson guide, a possible example is a unicorn walking into the classroom.
- Answers will vary. As mentioned in the lesson guide, a possible example is the sun rising.
- Answers will vary. Possible answers: flipping tails/heads on a coin, picking a black/red card from a standard 52 card deck, rolling an even/odd number on a 6-sided die.
Work Time
Struck by Lightning
Use the Likelihood Line interactive to help you think about likelihood.
- Where on the line would you place the likelihood of your house being struck by lightning? Put a mark at that point.
- Can you think of an event that is impossible—that cannot happen? Write an example of one.
- Can you think of an event that is certain? Write an example.
- Are there events you can think of that are equally likely to happen as to not happen? Write an example.
INTERACTIVE: Likelihood Line
Likelihood
Lesson Guide
Tell students that if an event is labeled to the right of center, we would say that it is likely; if it is labeled to the left, we would say that it is unlikely. The closer an event is to either extreme (Impossible or Certain), the more likely/unlikely it is happen.
Have students work quickly through the likelihood problems using the Likelihood Statements interactive. The discussion will occur in the Ways of Thinking portion of the lesson.
Mathematics
The problem begins with events that are easier to think about based on experience and more difficult to quantify with data. The last few events encourage students to informally think about the ratios involved to determine likelihood.
Most of the events will have a fairly narrow range of guesses. However, the ones about individual students (sending a text, buying lunch, getting a high score) could vary widely. Keep an eye on the range of guesses for all questions.
If students have difficulty understanding where to mark the line, ask:
- Do you think the event is closer to impossible or certain?
- Do you think the event is likely (closer to center) or very likely (closer to certain)?
- Do you think the event is unlikely (closer to center) or very unlikely (closer to impossible)?
Look for the following in student responses:
- Events with a large range of responses
- Events with a small range of responses
- Events with a typical response of very unlikely, very likely, or equally likely as unlikely
Mathematical Practices
Mathematical Practice 4: Model with mathematics.
- Students begin to build their intuition about probability by considering real-world situations. Subsequent lessons will introduce the mathematical models that can be used to represent these and other situations.
Possible Answers
- Answers will vary as described in the Mathematics section.
Work Time
Likelihood
For each event, use the Likelihood Statements interactive to mark the line with the letter of the event to indicate its likelihood.
What is the likelihood that...
a. It will rain tomorrow?
b. Someone will be absent?
c. The temperature will be above 60°F?
d. You will send a text sometime today?
e. Your teacher will assign homework?
f. You will buy lunch at school?
g. You will get a high score on the next math test?
h. Out of all the students at your school, you will be chosen at random to win a prize?
i. Out of all the students at your school, you will not be chosen at random to win a prize?
j. Out of all the students in your class, you will be chosen at random to win a prize?
k. Out of all the students in your class, a girl will be chosen at random to win a prize?
INTERACTIVE: Likelihood Statements
Likelihood Both Will Happen
Lesson Guide
Look for students who predict that the likelihood of two events occurring is lower than the likelihood of each event individually. Also look for students who predict a higher likelihood.
Possible Answers
- Answers will vary. In general, the likelihood of any two given events both happening should be lower than the likelihood of either individual event happening. Special cases include:
- If a student picks mutually exclusive events (e.g., h and i), it is impossible for both to occur.
- If a student reasons either of the two events to be impossible, then the likelihood for both events must also be impossible—regardless of the likelihood of the other event.
- If a student reasons both events to be certain independently, they must also be certain for both to happen.
Work Time
Likelihood Both Will Happen
Choose two events from the list. What is the likelihood they will both happen? Use the Two Events Likelihood Line interactive to mark the likelihood on the line.
a. It will rain tomorrow.
b. Someone will be absent.
c. The temperature will be above 60°F.
d. You will send a text sometime today.
e. Your teacher will assign homework.
f. You will buy lunch at school.
g. You will get a high score on the next math test.
h. Out of all the students at your school, you will be chosen at random to win a prize.
i. Out of all the students at your school, you will not be chosen at random to win a prize.
j. Out of all the students in your class, you will be chosen at random to win a prize.
k. Out of all the students in your class, a girl will be chosen at random to win a prize.
INTERACTIVE: Two Events Likelihood Line
Make Connections
Lesson Guide
This will be a teacher-led discussion. Discuss the results of students' responses.
Ask the following:
- What statement about likelihood could you make for each event (e.g., it is very unlikely that I would be chosen at random for a prize)?
- How did you decide where to place your mark for each event?
- Why did the class seem to agree on some events and not others?
- We agree that some of the events are unlikely, but how do you know that one is more unlikely than the other?
- How do the events “you will be chosen to win a prize” and “you will not be chosen to win a prize” go together?
- How would the likelihood compare for the opposite event for each event in the list—e.g., "It will not rain tomorrow”?
Talk about students' responses to the likelihood of two events. Mention to students that these are examples of compound events, which will be discussed later in the unit.
Although numbers and ratios are discussed only informally, students are beginning to think about probability and complementary events.
SWD: Revisit the vocabulary introduced in this lesson. As students present their solutions to the Work Time problems, make note of key words and write them on a chart. Provide plenty of repetition and review of new terminology. Make sure all students have these terms in their notebook.
ELL: Give students plenty of wait time as some of them are learning and processing new mathematical information in a second language. Use a chart to show a visual representation of the likelihood line with a continuum of where likely, unlikely, and equally likely as unlikely are located with respect to each other.
Performance Task
Ways of Thinking: Make Connections
Take notes about how your responses compared to those of your classmates.
Hint:
As your classmates present, ask questions such as:
- What statement about likelihood could you make for each event? (For example: It is very unlikely that I would be chosen at random for a prize.)
- How did you decide where to place a mark for each event?
- What is the likelihood that both events, "You will be chosen at random to win a prize" and "You will not be chosen to win a prize," will happen?
- How does the likelihood of the opposite of each event compare to the likelihood of the original event? (For example, “It will not rain tomorrow” versus “It will rain tomorrow” and “The temperature will be below 60°F” versus “The temperature will be above 60ºF”)?
Reflect on Your Work
Lesson Guide
Have each student write a brief reflection before the end of the class. Review the reflections to find out what students consider to be likely and unlikely events.
Work Time
Reflection
Write a reflection about the ideas discussed in class today. Use the prompts below if you find it to be helpful.
In the next 24 hours, here is a list of some things that are likely to occur…
In the next 24 hours, here is a list of some things that are unlikely to occur...
|
oercommons
|
2025-03-18T00:34:23.770023
|
Stephanie Wright
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/60239/overview",
"title": "Probability As A Measure Of Likelihood",
"author": "Lesson"
}
|
https://oercommons.org/courseware/lesson/78570/overview
|
The Truth About Genetically Modified Food
The Truth About GMOs
GMOs Text Set
Overview
Text set to pair with "The Omnivore's Dilemma" to address an argument prompt on genetically modified foods.
The Truth about GMOs
Use the attached guided reading document.
The Truth about Genetically Modified Food
See attached
Pros and Cons of Genetically Modified Food
See attached
The Omnivore's Dilemma
Pair with current curricula on "The Omnivore's Dilemma"
|
oercommons
|
2025-03-18T00:34:23.790598
|
03/24/2021
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/78570/overview",
"title": "GMOs Text Set",
"author": "Natalie Krusemeier"
}
|
https://oercommons.org/courseware/lesson/112714/overview
|
World History Course Syllabus
Overview
This course is designed for students to gain an understanding of the different eras of history which have created the world in which we live today. The course explores different societies and their approaches to social, political, cultural, and economic changes as they interact with different actors at a variety of different social levels.
Attachments
The attachment for this resource is a sample syllabus for a world history course.
About This Resource
The sample syllabus here was submitted by a participant in a one-day workshop entitled, "Teaching Indigenous History as World History" for world history teachers hosted by the Alliance for Learning in World History.
This resource was contributed by Anu Dean.
|
oercommons
|
2025-03-18T00:34:23.807910
|
Alliance for Learning in World History
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/112714/overview",
"title": "World History Course Syllabus",
"author": "Syllabus"
}
|
https://oercommons.org/courseware/lesson/90358/overview
|
Teaching "used to" To Talk About The Past: A Free ESL Lesson Plan
Overview
We use used to to talk about repeated habits or actions in the past that are no longer true in the present. If your students are already comfortable using the past tense and want other ways to express their past actions, this is the perfect lesson to use with them.
If you enjoyed this ESL lesson plan download, there are 150+ more free lessons available with a free Off2Class account!
Off2Class
This lesson outlines how to use used to in the positive form, negative form, and question form. The lesson begins with a brief, easy-to-follow explanation of the grammar rules, followed by activities. Students can review and practice these concepts until they have reached perfection. After this lesson, your students will have a better understanding of used to.
You can access full teacher notes for this lesson plan by signing up for a free Off2Class account.
|
oercommons
|
2025-03-18T00:34:23.825245
|
02/24/2022
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/90358/overview",
"title": "Teaching \"used to\" To Talk About The Past: A Free ESL Lesson Plan",
"author": "Christine Chan"
}
|
https://oercommons.org/courseware/lesson/99912/overview
|
Empathy for All
Overview
In this lesson, students will discuss, collaborate, and complete an activity to learn how to show empathy toward others.
Lesson Overview
Please adapt the lesson activity to fit your students' abilities and interests.
Introduction
In this lesson, students will discuss, collaborate, and complete an activity to learn how to show empathy toward others.
Grades 3 – 5
Themes
- Empathy
Objectives
During this lesson, students will:
- Define empathy and its importance.
- Discuss how to show empathy for others.
- Write a reflection paper on the importance of empathy.
Essential Questioning
Students should be able to answer these questions by the end of this lesson:
- What does it mean to show empathy?
- Why is being able to show empathy for others important?
Indiana Academic Standards
- INSS.ELA: 3.RL.3.2 Distinguish personal point of view from that of the narrator or those of the characters.
- INSS.ELA: 3.W.4 Apply the writing process.
- INSS.ELA: 4.RL.3.2 Compare and contrast the point of view from which different stories are narrated, including the difference between first- and third-person narrations.
- INSS.ELA: 4.RL.4.2 Compare and contrast the treatment of similar themes and topics and patterns of events in stories, myths, and traditional literature from different cultures.
- INSS.ELA: 4.W.4 Apply the writing process.
- INSS.ELA: 5.RL.4.2 Compare and contrast stories in the same genre on their approaches to similar themes and topics.
- INSS.ELA: 5.W.4 Apply the writing process.
Download the attached PDF document for complete lesson materials.
Download the attached Word version for fully accessible document. (Coming Soon)
|
oercommons
|
2025-03-18T00:34:23.846567
|
Activity/Lab
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/99912/overview",
"title": "Empathy for All",
"author": "Sociology"
}
|
https://oercommons.org/courseware/lesson/63825/overview
|
Icivics
Branches of U.S. Government
Overview
Quick lesson for 4th grade social studies class.
Show students the BrainPop movie "Branches of Government."
Let students Explore ICivics.
Have the students create a presentation (poster, infographic, PowerPoint slide, etc.) discussing important facts about one of the three branches.
Have the students discuss in small groups different aspects of the branches of government and why they were created and given the role they have today. As well as, who the government officials currently are.
|
oercommons
|
2025-03-18T00:34:23.863541
|
03/08/2020
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/63825/overview",
"title": "Branches of U.S. Government",
"author": "Meagan Short"
}
|
https://oercommons.org/courseware/lesson/98227/overview
|
Ways to promote conservation!
How To Help Conservation
Overview
This is a module to go over the basic definition of conservation, why it is important, and how to take action to protect the environment.
Introduction
Conservation is something that many people speak about when they talk about the environment. It can be interpreted in various ways. This module is to give a brief overview on the definition of conservation as well as simple ways that individuals can help support it.
What is Conservation?
Conservation is the protection of the environment. It is an effort made to prevent the extinction or mass destruction of environments in the world. It is also to help protect biodiversity, which is a word used to describe the variety of species and organisms on Earth.
Why is Conservation Important?
So you may be thinking, why is conservation important? Conservation is important not only for the current health of the planet and people but for the future health of generations to come. It is important that there are natural areas available for everyone to enjoy! These can be in the forms of state parks, beaches, nature trails, public parks, and other green spaces.
Taking Action
There are many ways that you can take action in conservation:
- Buying fishing licenses
- Buying hunting licenses, equipment, or ammunition
- Picking up trash when it is somewhere it is not supposed to be
- Planting species that are native to the area you are in
- Not littering
- Spreading the word about conservation
Now that you have learned about conservation, go help save the environment!
Review
Now, you know what conservation is. You also know why it is important and how you can take action to support it. If you have any questions about any of these topics, you can go online to your state's conservation commission to learn more!
|
oercommons
|
2025-03-18T00:34:23.886515
|
10/26/2022
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/98227/overview",
"title": "How To Help Conservation",
"author": "Gabriella Haire"
}
|
https://oercommons.org/courseware/lesson/67484/overview
|
Climate Science 2.0: Analyzing and Interpreting Data
Overview
In this Canvas Course, attendees will learn a protocol for organizing and interpreting data through tabulating, graphing, and statistical analysis. In this context of the course, the protocol will be applied to a climate science topic. With regard to NGSS alignment, the course focuses on the practice “Analyzing and Interpreting Data” within the dimension “Science and Engineering Practices.”
|
oercommons
|
2025-03-18T00:34:23.898426
|
05/28/2020
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/67484/overview",
"title": "Climate Science 2.0: Analyzing and Interpreting Data",
"author": "Scott Killough"
}
|
https://oercommons.org/courseware/lesson/79114/overview
|
VIDEO ON CONING AND QUARTERING.
Overview
The video created explains the method of Coning and Quartering which involves five steps to reduce the sample size of the (coal) powder inorder to obtain the desired size of the sample.
By Tausif Jaha Yahu Guided BY DR. Prabha Shetty
The video created explains coning and quartering method used to reduce the sample size of the (coal) powder inorder to obtain the desired size of the sample.
|
oercommons
|
2025-03-18T00:34:23.914520
|
Simulation
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/79114/overview",
"title": "VIDEO ON CONING AND QUARTERING.",
"author": "Interactive"
}
|
https://oercommons.org/courseware/lesson/99141/overview
|
Cheyenne & Arapaho Tribes Activity Plan
Overview
This activity was produced in conjunction with The Library of Congress and the TPS at Metropolitan State University of Denver.
This activity will allow learners to
- investigate and explain how different groups of people were treated in the past, and the ways in which that treatment changed over time
- identify injustice in multiple forms
- identify ways in which groups become marginalized
This lesson leads students through several major events in the history of the Cheyenne & Arapaho tribes, and asks that they use primary source documents to describe the ways in which the treatment and perception of the tribes changed over time in southern Colorado.
Crossroads of History
Activity Plan Template
Non-classroom setting
| Program Title | Instructional Level | Target Audience | |||
| TPS Western Region Location | Middle School | 8th grade |
| Resources Used(Details on what research you conducted, citations for sources used to create activities, etc.)Social Justice Standards Diversity 10 DI.6-8.10 I can explain how the way groups of people are treated today, and the way they have been treated in the past, shapes their group identity and culture. Justice 12 JU.6-8.12 I can recognize and describe unfairness and injustice in many forms including attitudes, speech, behaviors, practices and laws. | |
| Library of Congress Teacher Resources Additional sources:Byram, Timothy & Betty Lupinacci (ed.). “Litigating Memory: The Legal Case Behind the Moiwana and Sand Creek Massacres.” In Custodia Legis, Law Librarians of Congress, Library of Congress, 11 August 2015, https://blogs.loc.gov/law/2015/08/litigating-memory-the-legal-case-behind-the-moiwana-and-sand-creek-massacres/.Geological Survey, U.S, and United States Indian Claims Commission. Indian Land Areas Judicially Established. Reston, Va.: The Survey, 1978. Map. Retrieved from the Library of Congress, www.loc.gov/item/80695449/.Jenks, Daniel A., Artist. Bents Fort. Photograph. Retrieved from the Library of Congress, www.loc.gov/item/2004661632/.Kelman, Ari. A Misplaced Massacre: Struggling Over the Memory of Sand Creek. Harvard University Press, 2013.Lavender, David. Bent’s Fort. University of Nebraska Press, 1954. “Language and Culture.” Cheyenne & Arapaho Tribes, 2021. https://cheyenneandarapaho-nsn.gov.National Park Service. Bent’s Trading Post at Big Timbers. U.S. Department of the Interior, https://www.nps.gov/safe/learn/historyculture/upload/Bents-Trading-Post-at-Big-Timbers-508.pdf National Park Service. Why a Massacre? U.S. Department of the Interior, https://www.nps.gov/safe/learn/historyculture/upload/Why-a-Massacre-508.pdf. Royce, Charles C, and Cyrus Thomas. Indian land cessions in the United States. 1899. Pdf. Retrieved from the Library of Congress, www.loc.gov/item/13023487/. “Sand Creek Massacre.” National Park Service, U.S. Department of the Interior, https://www.nps.gov/sand/index.htm. |
| Introductory Text/ Program justification(Describe the marginalized people whose stories and history within your community you will be teaching about through these activities, and why their stories must be shared at this point in history.) | The Cheyenne and Arapaho tribes faced, like many other tribes, numerous injustices at the hands of the United States government. Following friendly relationships with white settlers, government agents, and military members at Bent’s Fort, and during peace discussions with the US government, over 150 members–mostly women and children–of the tribe were killed at the Sand Creek Massacre in November 1864. Following the tragic events of the Sand Creek Massacre, the government mandated reparations. However, those reparations still remain undefined and unpaid. In 2007, the Sand Creek Massacre National Historic site was founded and can be visited today. The Cheyenne and Arapaho tribes live in Oklahoma.This lesson/activity will be an introduction to the history of the Cheyenne and Arapaho tribes and will focus on the government’s actions in removing the tribes from their ancestral land and connecting this story to the larger story of Indian Removal.Objective: We will analyze the ways in which treatment and perceptions of the Cheyenne and Arapaho tribes changed over time by discussing maps and brief readings. |
| Materials needed:(What supplies do you need to do this activity with your learners?) | -Students will need access to printouts of primary sources, access on computers with links to the primary sources, or a visual display of the primary sources. |
| Technology:(What technology will you need to complete this activity?) | -Internet access or pre-printed materials-Computer(All of these are required in preparation for the activity, not for the activity itself) |
| Consumables & Copies:(What materials do you need to provide for learners to use during this activity that can not be reused during another cohort?) | -Printouts of primary source maps-Printouts of NPS pamphlets-Discussion question sheets -Discussion sentence starters |
| LOC Primary Source links(Attach links here to documents, videos, any materials from your LOC research that you will be sharing with learners during this program.) | https://memory.loc.gov/cgi-bin/query/D?hlaw:3:./temp/~ammem_KgF9:: https://www.loc.gov/resource/g3701em.gct00002/?sp=9 https://www.loc.gov/resource/g3701e.ct008649/?r=-0.16,-0.112,1.382,0.842,0https://www.loc.gov/resource/ppmsc.04810/ |
| Entry Activity/Task | https://www.loc.gov/resource/g3701e.ct008649/?r=-0.16,-0.112,1.382,0.842,0https://www.loc.gov/resource/ppmsc.04810/ In groups of 2-3, students will review the two documents provided (linked above) and will be asked to locate Bent’s Fort from the illustration on the map. They will then be asked to determine which tribe has claimed the land, and then to develop 1-3 questions using both of the documents. In a traveling expert activity, each group will choose 1 member to visit 2 other groups and exchange 1 question. The traveling expert will then return to their own group and report on the questions generated by the other groups. Teacher will record questions in a central location during the traveling expert activity to reference later.1-2 minute lecture explaining the purpose of the map. This map was created in 1978 to show the areas where tribes have proven historic tribal occupancy. This was well after treaties and relocation have taken place, but do show areas that tribes claim were historical–before 1978–homelands.Take time to review the questions and see if any student-generated questions have been answered through the lecture. |
| Focused Activity/Task | Students will read (either independently or in groups), the pamphlet entitled “Bent’s Trading Post at Big Timbers,” and then participate in a guided discussion.Discussion questions: 1)Based on this pamphlet, how were the Cheyenne and Arapaho tribes treated and/or perceived at Bent’s Fort?2)Make a prediction about what might happen to this perception or treatment as a)the US Army occupied the old fort, b)as the cholera epidemic affects the Cheyenne tribe, and c)as Bent’s New Fort closes. Why do you think so? (Teacher should circulate and listen to group discussions).Take time to highlight some positives from the discussion i.e. “I heard ____ use one of our sentence stems.” “I noticed that ____ referenced one of our documents.”Debrief the discussion by sharing some content information overheard, or address misconceptions, soliciting suggestions and thoughts from students.Introduce second map (https://www.loc.gov/resource/g3701em.gct00002/?sp=9&r=0.509,0.287,0.4,0.306,0) Students will compare and contrast the area of the Cheyenne & Arapaho tribes on the two maps (area 477 on second map). As needed, use the following discussion questions: -Which area of land is larger? Which is smaller? What can we infer about the treatment and perception of the tribes at the hands of white settlers and the US Army based on these maps? |
| Conclusion Activity/Task(Descriptions and details of what activities you will provide for your learners to present to them the primary source materials from the LOC.) | Students will read (either independently or in groups), the pamphlet entitled “Why a Massacre?”Thumbs up/thumbs down check for understanding. Take time to answer any questions students might have.Exit ticket question/discussion: In what ways did the treatment and perception of the Cheyenne & Arapaho tribes change over time? -Based on these documents, what are the implications for the Cheyenne & Arapaho tribes between these documents and our current time? In other words, make a prediction for what might have happened to the Cheyenne & Arapaho tribes after these events. |
| Assessment of Student Learning (How will you determine if your learners have completed the activity? How will you determine if your learners have used the primary sources from LOC to understand the history of the marginalized people that are your activity focus?) | The assessment of this activity will primarily take place based on the discussions that students have throughout the lesson/activity. Follow-up questions may be added or scaffolded to help students attain the desired understandings from this lesson. The conclusion activity/task of writing or narrating a brief overview of the broad history of the Cheyenne & Arapaho tribes from Bent’s Fort to the peace talks with the US government will provide the final assessment. Student responses should include loss of land, access to |
| Student Learning Accommodations & Modifications (How will you adapt your activity plans for learners who are differently abled? Will you provide alternate paths to activity completion? Aid or peer support?) | All elements of this lesson can involve a greater or lesser extent of teacher guidance or aid. A teacher may read the written materials aloud, allow for or translate as needed. Activity is mainly based on the sharing of ideas between peers in discussion, and teacher can scaffold questions and provide sentence stems to students as needed. |
| Multicultural Considerations(What specific considerations should be made for any other community program leader who might teach this activity in the future? Are there specific facts that should be noted while researching? Specific books that should be included? Please note your recommendations here.) |
Discussion starters
In the document, I noticed that ______________. This made me think that ______________.
When I look at the document, I wonder ______________.
Based on the document, _____________.
The document suggests that __________ because _________.
One implication of the document is _________________. I think this because ___________.
Adapted from template by Creator: Morgen Larsen for NCCE.org
Except where otherwise noted, this work is licensed under a Creative Commons Attribution 4.0 International License
|
oercommons
|
2025-03-18T00:34:23.940996
|
U.S. History
|
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"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/99141/overview",
"title": "Cheyenne & Arapaho Tribes Activity Plan",
"author": "Measurement and Data"
}
|
https://oercommons.org/courseware/lesson/73300/overview
|
Counting Overview
Kindergarten Math
Overview
This is a lesson/activity that contains several counting activities to help students learn their numbers.
Counting Up
To start off the lesson, students will get into a circle and number themselves starting from one all the way to the last person of the group. This will give the students practice with counting. Next, the students will sit in the front of the classroom. They will start off by sitting on the floor. Next, I will start counting to ten by starting with one. When students hear the word "one", they will begin to slowly rise up. The students will rise higher and higher until they are fully standing by the time I reach ten. After doing this a few more times, students will get with a partner. They will each have a white board. One student will write a random number on their board and show their partner. Then, their partner will have to write the number that is one more than the number they were shown. The students will take turns being the one to come up with the number.
|
oercommons
|
2025-03-18T00:34:23.958894
|
10/08/2020
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/73300/overview",
"title": "Kindergarten Math",
"author": "MacKenzie Freeman"
}
|
https://oercommons.org/courseware/lesson/86957/overview
|
Photosynthesis and Cellular Respiration
Overview
Photosythesis and Cellular Respiration interactive powerpoint.
Biology
Photosythesis and Cellular Respriation Powerpoint that has interactive element built in to let students get involved and reviewing topics. Student in virtual setting can make copies of this powerpoint and complete and turn in for grading. Reviews topics like reactant and products of not only the main process of photosythesis and cellular respiration but the substages of each. It goes over the organelle involoved in the process (mitochondria and chloroplast.
|
oercommons
|
2025-03-18T00:34:23.976152
|
Teaching/Learning Strategy
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/86957/overview",
"title": "Photosynthesis and Cellular Respiration",
"author": "Lecture Notes"
}
|
https://oercommons.org/courseware/lesson/77325/overview
|
Callysto Form and Function Animation Script
Computer_Science_Activities
Design Plan - All Pathways
Fishers_Fundamental_Theorem_of_Natural_Selection__Developing_a_model_of_Darwins_Theory_of_Natural_selection_and_as_an_Exemplar_of_how_mathemati
Math 20-1 Functions and Relations Learning Activities
Media_Design_Communication_Arts_Activities
Role play GA
The_Evolution_Stick_Ungulates__A_Jupyter_Notebooks_Lab_GtRvZsh
What is a GA__A_Jupyter_Notebooks_Lab
Why Model and_Simulate?
Form and Function(s): A Sustainable Design meets Computation Design Plan
Overview
Introduction
The Concept behind Form and Function(s): Sustainable Design meets Computational Thinking
When Architecture, the Natural Sciences, Mathematics and Computing intermingle something beautiful and purposeful occurs. Through this course of study, students are challenged to think computationally by considering the notion of “design” through three perspectives on form and function. Through the first perspective, we challenge students to consider a structure’s architectural form in the context of its function within the ecology in which it belongs. A second perspective on form and function is provided by way of the natural sciences, where students explore nature’s designs, which are created through natural selection. Finally, form and function are further abstracted through a mathematical and computational perspective that focuses on how natural selection can be emulated through modelling and coding. The journey comes full circle, and the three perspectives coalesce when students engage in a hack-a-thon in which they model and code evolutionary algorithms to design a better building.
Watch the Form and Function(s) animation on the Callysto Youtube channel.
Introduction and Different Pathways
Attached is the All Pathways Design Plan for cross-curricular instruction.
Introduction
This design plan was created as part of a Callysto funded project titled Form and Function(s): A Sustainable Design meets Computation OER Sprint. The various educational assets (e.g. animation, design and lesson plans, learning activities) have Creative Commons (CC) licenses (CC-BY 4.0). This type of copyright license permits, without further requests from the author or publisher, to reuse, revise, remix, or redistribute the educational resource. The Callysto project assets are therefore Open Educational Resources (OER).
We encourage teachers to take the OER and reuse or revise, changing and contextualizing for your students. If you do make such changes, please learn how to apply for the correct CC license and provide the proper attribution format. You may learn more about OER, the CC licenses, and the permissions allowed on the Blended and Online Learning and Teaching website and OER Commons.
The Concept behind Form and Function(s): Sustainable Design meets Computation
When Architecture, the Natural Sciences, Mathematics and Computing intermingle something beautiful and purposeful occurs. Through this course of study students are challenged to think computationally by considering the notion of “design” through three perspectives on form and function. Through the first perspective, we challenge students to consider a structure’s architectural form in the context of its function within the ecology in which it belongs. A second perspective on form and function is provided by way of the natural sciences, where students explore nature’s designs, which are created through natural selection. Finally, form and function is further abstracted through a mathematical and computational perspective that focuses on how natural selection can be emulated through modelling and coding. The journey comes full circle, and the three perspectives coalesce, when students engage in a hack-a-thon in which they model and code evolutionary algorithms to design a better building.
PLEASE FIND THE SCRIPT TO THIS ANIMATION IN THE RESOURCES SECTION.
Completion of the project in its entirety requires team teaching at the grade 11 level as the project spans the Career and Technology Studies (CTS), Biology 20, and Math 20 curriculums. Alternatively, selections from the design plan can be taught on their own, or mixed and matched as opportunities for collaborative teaching allow. As a whole, the materials are intended to provide teachers of grade 11 students an integrated STEAM approach to teach students to learn and apply computational thinking. However, the modular design of the learning activities will also allow secondary purposes to be fulfilled. Table 1. provides several pathways for the use of the learning activities (detailed in Section 3) and OER materials provided; however, teacher’s are encouraged to mix and match to suit their needs. For example, a BioMath pathway could easily be created by combining the core elements of the Biology 20 and Math 20-1 pathways found in Table 1.
The Complete Pathway
The complete design plan touches on elements of the CTS Media/Design/Communication Arts cluster (MDC), Biology 20 Science and Technology Emphasis, Math 20-1, and CTS Computer Science curriculums. Our goal is to use the concept of design to teach students to learn and apply computational thinking. Using an integrated STEAM (Science, Technology, Engineering, Arts and Mathematics) approach, this project aims to introduce students to the notion of design through three perspectives via a series of process-based learning lessons and activities.
Architecture is a perfect way to introduce the notion of aesthetics through form and function. Here, we challenge students to think of design not only in terms of form but also in the context of the function. We consider how, as a society, we might move beyond creating structures that impose upon the environment; instead of creating structures that integrate into the ecologies they inhabit. For example, imagine a future in which our structures are more than just spaces, but contribute to the natural processes of the ecologies they inhabit, seamlessly integrating into the ecology’s energy and geochemical cycles including solar, geothermal, water, oxygen and carbon dioxide cycles, to name a few. It’s easy to envision the potential benefits of the integration of our built environment into the natural ecology it inhabits, especially as we seek to reduce our environmental impact. Unfortunately, achieving ecological integration of our built environment is not an easy task.
Ecological integration is of course regularly achieved in nature, but how? In the second Inquiry, we challenge students to think about nature’s designs. For example, why is an organism so well suited for the ecological niche it uniquely occupies? Here, students will be introduced to the concept of adaptation through the process of natural selection, by emphasizing that nature’s designs are achieved through repeated iteration of a simple principle: better-adapted individuals will prevail over less adapted ones. Can a similar process be used to achieve biomimicry of our built environment? Clearly, an exact real-world replication of natural selection is not a practical approach but, through mathematics and computing, we will emulate natural selection to achieve ecological integration.
In the third Inquiry, we ask students to think about emulating the process of natural selection through computational means. In this way, students are introduced to mathematical modelling and the process of computer simulation and, in this context, students are encouraged to think about what it means for a mathematical model or computer simulation to be well-designed. Ultimately, we guide students to a basic understanding of how natural selection can be modelled, and how evolutionary algorithms can be used to emulate natural selection, with the goal of finding a better design.
A “Hack-a-thon” caps the activity off. Students learn about passive solar capture and how a building’s surface orientation affects its ability to capture the sun’s energy, as well as how the building’s envelop and window to wall surface area ratios affect energy loss. Students are then challenged to assemble what they have learned to develop their best design for the building that maximizes the use of passive solar energy.
CTS Media Design and Communication Arts and CTS Computer Science Pathways
The Media Design and Communication Arts and CTS Computer Science pathways follow the same basic course as the Complete pathway presented above. The MDC pathway places emphasis on design studies and deemphasizes the technical aspects associated with the Biology 20, Math 20-1, and Computer Science curriculums. In contrast, the Computer Science pathway places emphasis on mathematical and computer modelling and computational thinking and while deemphasizing aspects of Design Studies. Both allow the majority of learning activities to be included, but with some presented in an abridged version.
The narrative for both the MDS and Computer Science pathways remains largely unchanged. As before, students are challenged to think computationally by considering the notion of “design” through three perspectives on form and function. Architecture remains the point of entry and provides the first perspective on design. The notion of sustainable design is introduced, providing students with an understanding of the principles and objectives of sustainable design as well as an overview of the complex problems that arise. Natural selection is again used to transition from architectural design to that of modelling, computational thinking and problem-solving. Through their brief exploration of Natural Selection students are exposed to the idea of simulating Natural Selection as a means of problem-solving, which in turn provides motivation to learn about Genetic Algorithms. Genetic Algorithms are then used as part of the “Hack-a-thon” that caps the activity off. Students learn about passive solar capture and how a building’s surface orientation affects its ability to capture the sun’s energy, as well as how the building’s envelop and window to wall surface area ratios affect energy loss. Students are then challenged to assemble what they have learned to develop their best design for the building that maximizes the use of passive solar energy.
Biology 20 Natural Selection Pathway
This design pathway is intended to augment the Biology 20 curriculum by expanding the exploration of Natural Selection as an evolutionary process both as it is operated in nature but also how the process of Natural Selection has inspired computational approaches to problem-solving. As a standard part of the Biology 20 curriculum students are taught the principles of natural selection as they apply to populations of organisms in nature. This design pathway follows the standard curriculum approach and will enable students to understand and explore the mechanisms by which plants, animals and fungi change over time, in a process that itself is driven by continuous changes in their environment. Natural selection is a key mechanism for change in populations and species and therefore evolution. Although it is not the only driving force for evolutionary change it is the only evolutionary mechanism that drives adaptation. To better understand how Natural Selection operates students are introduced to the concept of modelling and learn about the role that modelling plays in science. Students are able to see the modelling process in action by exploring Fisher’s Fundamental Theorem of Natural Selection, which serves as an example that highlights the use of mathematical modelling has played in the development of Evolutionary Theory. Fisher’s Fundamental Theorem of Natural Selection is a bit of an obscure result, but its appeal here is that it is appropriate for this level with a simplified version and presentation available for a purely biological focus. An online Lab is provided via Jupyter Notebooks that allows students to explore how Natural Selection operates by simulating of the evolution of a virtual population of “stick ungulates”. Through this project, students are exposed to the idea of simulating Natural Selection as a means of problem-solving, which then provides motivation to introduce students to learn about genetic algorithms.
Math 10/20 Functions and Relations Pathway
In this design plan, students study Relations and Functions curriculum from Math 10 and Math 20 framed from the perspective of Mathematical modelling. First students are introduced to the concept of modelling in general terms, examining different types of model and their uses. Examples might include, 2D-visual models, 3D visual models, logic models, mathematical models and computer simulation models. Students learn that models are simplified representations of real-world systems that play important roles in the development of theory, the application of theory in problem-solving and the transmission and translation of knowledge.
To start the unit on Relations and Functions and to provide context for the study of mathematical modelling the students are presented with a real-world problem. Specifically, we challenge students to consider how, as a society, we might move beyond creating built structures that impose upon the environment; instead of creating structures that integrate into the ecologies they inhabit. For example, imagine a future in which our structures are more than just spaces, but contribute to the natural processes of the ecologies they inhabit, seamlessly integrating into the ecology’s energy and geochemical cycles including solar, geothermal, water, oxygen and carbon dioxide cycles, to name a few. Students will work on this challenge as their “building green” project that serves as the unit’s summative performance task.
To provide the students with the necessary knowledge and skills to tackle the summative performance task, students will first be introduced to modelling and analysis by way of considering how nature achieves ecological integration. Here, the students are briefly introduced to the concept of adaptation as a result of natural selection. Next, students will see the modelling process in action by exploring Fisher’s Fundamental Theorem of Natural Selection, which serves as an example that highlights the use of mathematical modelling in the developing Scientific Theory. As noted above, Fisher’s Fundamental Theorem of Natural Selection is a bit of an obscure result, but its appeal here is that it is appropriate for this level; its development and analysis drawing on the math 10C and Math 20 Relations and Functions curriculum, which is detailed below.
Mathematics Activities
This is an excellent primer regarding why we want to teach modelling and simulation in mathematics and computer science.
Please see the attached document.
Biology Activities
If you wish to work on Biology 20 with a Science and Technology emphasis, please use this plan.
Computer Science (CTS) Activities
CTS Media Design and Communication Arts and CTS Computer Science Pathways
The Media Design and Communication Arts and CTS Computer Science pathways follow the same basic course as the Complete pathway presented above. The MDC pathway places emphasis on design studies and deemphasizes the technical aspects associated with the Biology 20, Math 20-1, and Computer Science curriculums. In contrast, the Computer Science pathway places emphasis on mathematical and computer modelling and computational thinking and while deemphasizing aspects of Design Studies. Both allow the majority of learning activities to be included, but with some presented in an abridged version.
The narrative for both the MDS and Computer Science pathways remains largely unchanged. As before, students are challenged to think computationally by considering the notion of “design” through three perspectives on form and function. Architecture remains the point of entry and provides the first perspective on design. The notion of sustainable design is introduced, providing students with an understanding of the principles and objectives of sustainable design as well as an overview of the complex problems that arise. Natural selection is again used to transition from architectural design to that of modelling, computational thinking and problem-solving. Through their brief exploration of Natural Selection students are exposed to the idea of simulating Natural Selection as a means of problem-solving, which in turn provides motivation to learn about Genetic Algorithms. Genetic Algorithms are then used as part of the “Hack-a-thon” that caps the activity off. Students learn about passive solar capture and how a building’s surface orientation affects its ability to capture the sun’s energy, as well as how the building’s envelop and window to wall surface area ratios affect energy loss. Students are then challenged to assemble what they have learned to develop their best design for the building that maximizes the use of passive solar energy.
Media Design and Communication Arts Design Plan and Activities
CTS Media Design and Communication Arts and CTS Computer Science Pathways
The Media Design and Communication Arts and CTS Computer Science pathways follow the same basic course as the Complete pathway presented above. The MDC pathway places emphasis on design studies and deemphasizes the technical aspects associated with the Biology 20, Math 20-1, and Computer Science curriculums. In contrast, the Computer Science pathway places emphasis on mathematical and computer modelling and computational thinking and while deemphasizing aspects of Design Studies. Both allow the majority of learning activities to be included, but with some presented in an abridged version.
The narrative for both the MDS and Computer Science pathways remains largely unchanged. As before, students are challenged to think computationally by considering the notion of “design” through three perspectives on form and function. Architecture remains the point of entry and provides the first perspective on design. The notion of sustainable design is introduced, providing students with an understanding of the principles and objectives of sustainable design as well as an overview of the complex problems that arise. Natural selection is again used to transition from architectural design to that of modelling, computational thinking and problem-solving. Through their brief exploration of Natural Selection students are exposed to the idea of simulating Natural Selection as a means of problem-solving, which in turn provides motivation to learn about Genetic Algorithms. Genetic Algorithms are then used as part of the “Hack-a-thon” that caps the activity off. Students learn about passive solar capture and how a building’s surface orientation affects its ability to capture the sun’s energy, as well as how the building’s envelop and window to wall surface area ratios affect energy loss. Students are then challenged to assemble what they have learned to develop their best design for the building that maximizes the use of passive solar energy.
How To Get Started with the Callysto Jupyter Notebook
The Callysto Jupyter Notebook
The Jupyter Notebook is an integral part of this project. Click on the link, below, to take you to the Jupyter Notebook and then read on to see how to use it. |
Instructions:
Click on this link: https://tinyurl.com/yykrn5ny
Choose “Form & Function.ipynb” as seen in the list below
Click on the first line of code and hit “Run”
Click on the second line of code and hit “Run” again
Now, you can pick a subject that interests you to see the interactive exercises we have designed. Enjoy
Jupyter Notbook Q & A
Q: What is a Jupyter Notebook?
A: Jupyter notebook is a document that supports mixing executable code, equations, visualizations, and narrative text. Specifically, Jupyter notebooks allow the user to bring together data, code, and prose, to tell an interactive, computational story. Whether analyzing a literature, creating music and art, or illustrating the engineering concepts, the notebooks can combine explanations traditionally found in textbooks with the interactivity of an application.
Q: Why would I use a Jupyter Notebook?
A: While there are other software products that allow teachers to create interactive textbooks of information, Jupyter Notebooks allow students to interact and manipulate code within the notebooks. Imagine a student viewing a diagram of a building. Students can change items within the code that would change the diagram of the building directly in the notebook. This allows for interactivity for students, an ability for teachers to see a student’s thinking, and helps to promote coding with our students.
Q: How is the Jupyter Notebook used with this project?
A: Jupyter Notebooks allow participants to see some of the coding that goes on behind an interactive worksheet. In this project the students must set up the programming language and run the dropdown menu code before they can access the interactive worksheets using the same dropdown menu. This is simply done via a click and pressing the run button, but it helps develop computer literacy through simple exposure to usually behind the scenes codes. The code for each of the worksheets can be viewed by participants if desired. This enables the platform to support users with a wide range of learning interests, and not just those immediately addressed within the theme of this project.
The Jupyter Notebook for this project contains three worksheets (selected from a drop down menu) that help illustrate the learning activities in several streams of enquiry. Each worksheet provides interactive components that allow participants to explore the impact of their settings on the overall focus without having to recalculate by hand.
The first worksheet, performs basic architectural calculations from the dimensions provided by the participant. The architectural calculations can be extended to illustrate how the different form based design decisions lead to functional decision making i.e., the building envelope window number and location will influence heating and cooling calculations and requirements
The second worksheet, is a math tutorial which leads participants through a number of calculations that ultimately can be used to model a more complex problem.
The third worksheet is a tool that allows explorations of the effect of each variable in the genetic algorithm that is coded in the worksheet.
Q: How much does Jupyter cost?
A: Jupyter is free and open source meaning that the application is free to distribute.
Q: How do I install Jupyter Notebooks? Do I need special permission from my IT Department?
A: There is no need to install any application. Jupyter is a web-based application and runs through the student’s web browser. For more information about Callysto and Jupyter Notebooks, please visit: https://callysto.ca/callysto/
|
oercommons
|
2025-03-18T00:34:24.021697
|
Environmental Science
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/77325/overview",
"title": "Form and Function(s): A Sustainable Design meets Computation Design Plan",
"author": "Computer Science"
}
|
https://oercommons.org/courseware/lesson/73922/overview
|
Science Google Slide on Biodiversity
2nd Grade Science Habitats Vocabulary
Overview
This is a Google Slide on biodiversity and then activities followed by a Google Forms quiz.
Brain Based Lesson
Brian-Based Lesson
Lesson Objectives:
| |||
| Grade: 2Time frame: 11:00-11:20 | Lesson Title: Forest Habitat | ||
| Brain-based Strategies Used in the Lesson: Chunking, watching a video to gain access to higher level vocabulary with visuals | Formative or Summative Assessments:Formative: Students will match the words to their definitions | ||
| Prior to this lesson: What understanding and/or knowledge was taught prior? Where does this lesson fit in your unit? This is the beginning of the habitat unit. Previously we completed a KWL chart with what we Know about forests, what we Want to know, and left blank the “L” for the ned we will write what we have learned. | |||
Materials: Include a copy of everything required to teach. Use hyperlinks when possible. You may add additional pages to the bottom of this lesson plan also. Include the assignment that students will be completing.
| |||
| Content Core Standard: (List the standard(s) and then hyperlink it to the standards website.2-LSR4-1 Make observations of plants and animals to compare the diversity of life in different habitats. | |||
| Technology used: Google Slides, YouTube | |||
| Time | Materials | Lesson Procedures(Include the materials & technology.) | |
| 5Mins | Intro activity to activate schema (background information)/Warm-up/or Bell-ringer Revisit KWL chart to see what we already know and what our questions are | ||
| 5 Mins. | Introduce New Information: (Teaching)Go over definitions by having volunteers read them outloud | ||
| 10 Mins | Hands-on Activity Steps: (Prepare ways for students to practice the new information.)Video- stopping to discuss each vocabulary word | ||
| 5 Mins. | Feedback: (How will the students provide feedback?) Group activity? Instructor feedback?Tell a definition and ask students to write the word on their white board | ||
| Homework or in-class assignment | Assessment(s): (assignments and/or activities)
|
|
oercommons
|
2025-03-18T00:34:24.046793
|
Assessment
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/73922/overview",
"title": "2nd Grade Science Habitats Vocabulary",
"author": "Physical Geography"
}
|
https://oercommons.org/courseware/lesson/78489/overview
|
UV Spectroscopy Application
Overview
The few application of UV spectroscopy is shown as infograph.
UV Spectroscopy
UV Spectroscopy Application
It is an infograph ,which can easily understood.
The few application of UV spectroscopy is shown as infograph.
UV Spectroscopy Application
It is an infograph ,which can easily understood.
|
oercommons
|
2025-03-18T00:34:24.062934
|
Shaziya Sayed
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/78489/overview",
"title": "UV Spectroscopy Application",
"author": "Homework/Assignment"
}
|
https://oercommons.org/courseware/lesson/98694/overview
|
https://cutt.ly/AMYLqJs
https://docs.google.com/document/d/1B9lroSuNkxd4pVuoAtPn4WQP68Pbazkj6wUqwvSlvJk/edit
https://es.educaplay.com/recursos-educativos/13142024-consequences_of_technology.html
https://lyricstraining.com/play/jamiroquai/virtual-insanity/Hg21St7Utg#a7w
https://www.medicalnewstoday.com/articles/negative-effects-of-technology
INTERACTIVE LESSON PLAN
Overview
In the following lesson plan we will find different moments to develop during a 2-hour English class in grade 11 where the thematic focus will be "the diseases caused by the excessive use of technology". The lesson plan is divided into 3 moments:
First, the pre activity will focus on providing our students with icebreaker activities and an introduction to the topic to be covered. The while activity will present 2 didactic activities to put into practice the content and information learned.
The post activity will be an activity for students to develop their speaking skills.
And lastly, the assessment, where students will be evaluated on what they have learned throughout the class.
LESSON PLAN
PRESENTED BY:
Oscar Daniel Beltrán Triviño
Andrea Patarroyo Roa
Paula Andrea Cadena Marin
Andres Felipe Rodriguez
Sara Luna Losada Romero
SCHOOL: Liceo Santa Librada
CLASS:
1103 (20 students)
DATE:
Thursday, November 2022
TIME:
10:00 - 12:00 AM (2 hours)
ACHIEVEMENT:
Recognize general information about the most common dangers, consequences, and diseases caused by the excessive use of technology
NATIONAL STANDARD:
-- Write texts of different types with my potential reader in mind, potential reader.
-- Answer the question with my interlocutor, taking into account my interlocutor and context.
-- Rely on the speaker's body language and gestures to better understand what he/she is saying. To better understand what he/she is saying.
LESSON OBJECTIVES:
By the end of the class, students will be able to identify the consequences of excessive use of technology.
RESOURCES AND MATERIALS:
- Drive Folder with the diseases caused by the excessive use of technology.
- https://www.medicalnewstoday.com/articles/negative-effects-oftechnology#physical-health-effects -
- https://lyricstraining.com/play/jamiroquai/virtualinsanity/Hg21St7Utg#a7w
- https://es.educaplay.com/recursos-educativos/13142024- consequences_of_technology.html
- https://cutt.ly/AMYLqJs
- Family Feud PowerPoint game
SKILL FOCUS:
- Writing
- Speaking
- Listening
LANGUAGE FOCUS:
Consequences of technology
PRE-ACTIVITIES
PRE-ACTIVITIES
20 MIN
- The ST will use a game called Lyrics Training to introduce the topic, listening to the song “Virtual Insanity.”
- Later, the ST will present some pictures from a drive folder with the diseases caused by the excessive use of technology, then the ST will ask Ss to try to guess the reason why these diseases occur.
WHILE-ACTIVITIES
WHILE-ACTIVITY
40 MIN
To continue with the lesson, ST will present the same pictures from the drive folder, explaining their respective definitions and correcting what the Ss guessed in the previous activity.
TASK 2 - WHILE ACTIVITIES
TASK 2
In order to put into practice what they learnt, the ST will use an Educaplay activity “consequences of technology”; the Ss needs to link the meaning (it can be audio) with the picture.
TASK 3 - WHILE ACTIVITIES
TASK 3
After that, ST will move to the other activity created in Exelearning. ST will ask student to play a “Word guessing game” to try to get students to memorize the acquired vocabulary in the activity and information previously given.
POST - ACTIVITIES
POST-ACTIVITY
Finally, the Ss will be organized by pairs to discuss 5 questions (open-ended questions) that the St is going to show on the screen; the idea is that the Ss 1 asks to Ss 2 and tries to answer in 2 minutes per question, according to personal situations they have lived because of the excessive use of the technology.
Questions:
1. Have you suffered from any physical or psychological disease caused by excessive use of technology?
2. Have any of these diseases left you with serious sequels?
3. Which of the diseases do you think is the worst one? Why?
4. How much time do you spend using technology? Do you think is it appropriate?
5. Which device in excess do you think is the most dangerous to your health?
TASK 2 - POST ACTIVITIES
TASK 2
Afterwards, The Ss will make a short text telling a story about what the partner said, and his personal experience caused by the excessive use of the technology.
ASSESSMENT SECTION
ASSESSMENT SECTION
20 MIN
To assess the lesson, the ST will implement a PowerPoint game called “Family Feud”. It consists of a quiz game with a specific topic where players are given three answer options. For each correct question, the player will earn one point. At the end, the player who gets more points, will be the winner. In this way, the Ss will be able to test their knowledge acquired through the class with the information that the ST has provided. Also, the ST will know if the lesson was correctly learned by the Ss.
|
oercommons
|
2025-03-18T00:34:24.094521
|
11/15/2022
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/98694/overview",
"title": "INTERACTIVE LESSON PLAN",
"author": "Daniel Beltrán Beltrán Triviño"
}
|
https://oercommons.org/courseware/lesson/85038/overview
|
SMART project
Overview
SMART project
SMART Intro
A synergy between a humanoid robot and a personal mobile device as a novel intervention tool for children with Autism Spectrum Disorder
-SMART project-
Erasmus+ project
KA2-Cooperation for Innovation and the Exchange of Good Practices
KA203-Strategic Partnerships for higher education
Applied at
National Agency for European Educational Programmes and Mobility
Duration
Starting date 01.09.2018
Ending date 15.08.2021
SMART partners
Partners
- University Children’s Hospital-Skopje, Macedonia
- University of Hertfordshire-Hatfield, UK
- Faculty of Education and Rehabilitation Sciences-Zagreb, Croatia
- Faculty of Computer Science and Engineering-Skopje, Macedonia
- Beit Issie Shapiro-Amutat Avi-Ra'anana, Israel
University Children’s Hospital (UCH)-Skopje, Macedonia
UCH is a tertiary level public health institution (highest level of health care in the country), providing specialized outpatient and inpatient health care for children, at national level for all acute and most difficult chronic illnesses.
Department of psychophysiology-UCH, is highly specialized in early diagnostics and treatment of developmental disorders, with special interest on Autism Spectrum Disorders. We have trained staff in up to date diagnostic tools and early intervention treatments for children with autism.
UCH is leader of the SMART project.
University of Hertfordshire (UH)-Hatfield, UK
UH is among the most successful new universities in the UK: innovative, enterprising and business facing, with a truly international student community of over 24 000, including more than 3 800 international students from over 100 different countries.
UH has a strongly interdisciplinary team including roboticists, biologists, cognitive scientists, mathematicians and computer scientists. The group has particular expertise in Social Robotics, Human-Robot Interaction as well as Robot Learning, Learning by Observation, Cognitive Technology, Biological Systems, Artificial Intelligence, Emergence of Language and Communication, and Evolutionary Computation.
Faculty of Education and Rehabilitation Sciences (FERS)-Zagreb, Croatia
FERS is the oldest and largest university in Croatia.
Centre for Rehabilitation, within FERS, is an educational and clinical unit for 20 years and provides expert assessment, diagnostic, individual and group therapy and counseling for people with disabilities, their families and community. Center’s services are provided for newborns to school-age children, especially for ASD ones, by experts in educational rehabilitation, psychology, speech and language pathology. Through the interaction of science, practice and teaching, the Center became a place of clinical excellence. They have expertise in use of ADOS-2 and ADI-R, augmentative and alternative communication, PECS and ABA.
Faculty of Computer Science and Engineering (FCSE)-
Skopje, Macedonia
FCSE is the largest, most prestigious faculty in the field of computer science and technologies in Macedonia and among the largest faculties in the region.
FCSE holds an extensive experience in creating Apps for large systems, mobile devices, design and creation of animated sequence for mobile Apps and other computer based applications, utilizing Internet based programming and handling different forms of on-line data exchange, storage and processing with the help of designing data spreadsheets for the particular occasion. In the last 5 years, FCSE's specialized Laboratories for Intelligent systems and Cognitive robotics, where special attention has been given to programing and using robots, human-computer and especially human-robot interaction for specific target groups.
Beit Issie Shapiro-Amutat Avi-Ra'anana, Israel
Beit Issie is Israel’s leading organization in the development and provision of innovative therapies and services for children with disabilities and plays a leading role in promoting the inclusion of people with disabilities in the society.
The organization is staffed by professional from different disciplines like occupational therapists, speech therapists, educational technology specialists, and more, who are experts at integrating technology into different environments including educational frameworks, therapeutic environments and in the home. Great consideration is given to the specific needs of the individual and of their family. In addition, through many partnerships, Beit Issie works to promote the development of accessible products and Apps and provides consultation and professional guidance to technology companies and App developers.
SMART project
Project’s aims
Project's general aim is to improve joint attention, social and communicational skills of the children with autism.
Furthermore, aim is to raise the awareness for the children with autism and the daily difficulties they face.
Project’s objective
The objective of the SMART project is to develop and practically use intervention protocol through use of humanoid robot and complementary Apps for personal mobile device as a novel intervention tool for children with autism.
Context
• Autism is a lifelong disability that affects people's world perception and interaction with others. Its defined as deficits in social communication and interaction and restricted/repetitive patterns of behavior/interests/activities
• There is no “cure” for autism
• Affects 1% of the population (7.5m European citizens)
• It is a disabling condition with difficulties in independent living, self-care, educational and employment prospects. Almost half of the individuals will have intellectual impairment and never develop speech
• However, there is a range of interventions for enhancing the learning and development
• Any intervention should focus on developing child’s social skills, as it has been shown that social competence is a predictor of long-term outcomes for individuals with autism
• Children with autism should receive psychosocial intervention as a first-line treatment and this should include play-based strategies, which will have impact on their ability to gain the most from other interventions and improve their long-term outcomes
• Without appropriate intervention, autism can lead to family breakdowns, mental illness and family members becoming lifelong caregivers
• Communication deficits, as one of the core deficits in children with autism, are also present in communication between the child and his therapist
• There are promising results in the use of robots in supporting the social and emotional development of children with autism. Using robots as social mediators to engage children in tasks, allows for a simplified, predictable and reliable environment e. g. having predictable rules has been shown to be important in promoting prosocial behaviors
• This is a study of feasibility and proof of concept, in using a robot in conjunction with Apps for a personal mobile devices as a novel intervention tool for children with autism
The project activities involve:
• review of the ongoing and previous efforts in the field of socially assisted technology
• selection of participating children and introduction to the individual characteristics of each child
• finding out the expectations and experience of the parents and the therapists
• setting up tools for measuring and evaluating of project’s results
• creating robot software scenarios for KASPAR
• creating complementary Apps for personal mobile devices
• testing the effects from their use through interaction with the children in clinical, educational and home settings
• multiplier events, transnational meetings and training activities
• writing and publishing scientific papers
SMART Kaspar
In this project we used KASPAR, a humanoid social robot
The robot has been developed through more than a decade’s research by the University of Hertfordshire’s world-renowned Adaptive Systems Research Group
Kaspar can:
• Act as a social mediator, helping children to better interact and communicate with adults and other children
• Help children to explore basic emotions
• Use a range of simplified facial and body expressions, gestures and speech to interact with children and help break social isolation
• Respond autonomously to touch, using sensors on its cheeks, arms, body, hands and feet, to help children learn about socially acceptable tactile interaction
• Engage in several interactive play scenarios to help children learn fundamental social skills such as imitation and turn-taking skills that children with autism can find very challenging
• Engage pairs of children to help develop and improve collaboration skills
• Enable cognitive learning by playing games involving personal hygiene or food (Kaspar can hold a comb, toothbrush or spoon)
• Engage children in confidence building activities by jointly singing a song or drumming
Case studies are showing promising results in enhancing communication and social interaction skills in children with autism. Those case studies reported improvements in children’s behavior, suggesting benefits of KASPAR mediated interventions.
But main goal of using KASPAR is to transfer those gained skills in the interventions in real communication with people.
Kaspar’s App
Innovativity
SMART project is a new and highly interdisciplinary initiative combining robotics, ICT
and other disciplines like cognitive sciences, developmental psychology, pedagogy, human-machine interface and others, in order to open a dedicated possibility for technologies to meet the needs of children with autism.
Using the humanoid robot in conjunction with complementary Apps for personal mobile devices has never been tried before. It is a novel approach designed to support and stimulates children with autism in acquisition of skills beyond intervention sessions i. e. in daily life context.
For the first time, KASPAR was used in the clinical settings.
SMART results
Results
We conducted literature review on the use of robots and apps as intervention tools for children with autism. The scientific literature presents an increasing number of studies conducted in recent years that explore the use of robots in the education and therapy of children with ASD. Over the years, many deferent types of robots have been used for these purposes, e.g. creature/cartoon like robots, mobile robots, animal-like robots and humanoid robots. Although the robotic platforms vary in terms of their appearance and behavior, they have been shown to evoke pro-social behaviors in many children with ASD, help developing skills to assist in communication and social interaction. Several surveys show that the use of humanoid robots as intervention tools for children with autism have found that Social robots act as behaviour eliciting agents for imitation, eye-gaze, joint attention, turn-taking, self-initiation, tactile interaction, emotion recognition, vocalisation and language etc. all of which may promote sensory, motor, cognitive emotional and social development.
We also did a research on the parent’s needs and problems regarding their children with autism, experienced in daily life. Majority of the parents had concerns about the child’s development before the age 3, but received services much later. Majority of them had serious frustrations in finding those services, had financial difficulties in dealing with the child’s autism and had serious difficulties in dealing with the challenging behaviors.
We also interviewed professionals from the field about the use of assistive technology. Some of them had education and use assistive technology but very small number use robots. Apps are much common in use for the children with autism.
Project partners developed and improved a set of approximately 10 different Kaspar's play scenarios which were used in the interventions with the children with autism. Each play scenario or game, was associated to a particular aspect of the intervention, targeting and supporting the development of children's abilities through interactions with the robot Kaspar. The play scenarios were developed in collaboration with psychologists, clinicians, educators and IT, all developed against relevant educational and therapeutic objectives in five key developmental areas (i.e. sensory development, communication and interaction, cognitive development, motor development and social and emotional development) and been exported to the App for mobile device.
This intervention achieved certain positive shifts in eight of eleven measured developmental domains, such as Communication functions and means, Turn taking, Imitation, Language skills, Play, Attention and Daily life skills. The three categories that had inconsiderable improvement are Vocalization and speech, Cause and effect and Coping skills. Based on the measurements before and after the use of Kaspar and complementary app, there is an improvement primarily in the domains of language, imitation and communication skills and attention.
The App that we have developed was easy to use for the parents and the children, had clear settings, children enjoyed in using it, met their needs, has fun and playful elements and they will recommend the app to their friends.
Furthermore, we interviewed the professionals who used Kaspar and app in this project. They think that the use of Kaspar in the therapy sessions meets the needs of the children. They also find that using Kaspar is easy to learn to handle with. Finally, the therapists would recommend the use of Kaspar to their colleagues (mode=4). Regarding the app design, participants rated the feature with high values and they rate it as useful.
For more information you can visit our web site www.smartporject.mk, our fb page https://www.facebook.com/smartprojectweb, and linkedin profile at https://www.linkedin.com/in/project-smart.
Application is visible at https://smart.finki.ukim.mk/ and video of the sessions in which Kaspar and app were used are visible at following links https://vimeo.com/576731743 and https://www.youtube.com/watch?v=-XKOFMs4j9I
Project results can be found at this link https://smartproject.mk/results/
If you need further information, you can contact our Project leader Prof. Tatjana Zorcec at tzorcec@gmail.com
|
oercommons
|
2025-03-18T00:34:24.137964
|
08/15/2021
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/85038/overview",
"title": "SMART project",
"author": "Tatjana Zorcec"
}
|
https://oercommons.org/courseware/lesson/116617/overview
|
Long division
DIVIDING BY 3 - DIGITS NUMBERS
Overview
The lesson "Dividing in a different way and in a different language" for sixth-grade students aims to teach division with three-digit numbers while fostering an understanding of cultural differences in division methods between the United States and Colombia. Beginning with an introduction to the importance of division in daily life and cultural contexts, the lesson progresses with a review of basic division concepts. Students then learn division by three-digit numbers through step-by-step instructions and examples. A key aspect is the comparison of division methods between the two countries, which promotes cross-cultural understanding. Practical application follows with division exercises involving three-digit numbers. The lesson concludes with reflection on the significance of division skills in a global context and the importance of respecting diverse cultural perspectives. Overall, the lesson integrates mathematical instruction with cultural awareness, providing students with a comprehensive and meaningful learning experience.
Diviting in a different way and in a different language.
objectives:
The objective of this lesson is twofold. First, students will learn how to divide three-digit numbers by three-digit numbers. Second, students will gain an understanding of the cultural and contextual differences in division methods between the United States and Colombia.
Time: 1 hour
Class Grade: Sixth grade
Student- teacher: Ana Yazmin Peña
school: XX
Nunber of students: XX
Introduction
Time: 10
Ask students if they know how to divide by three-digit numbers. Then, welcome and introduce the lesson objective.
Discuss the importance of division in daily life and introduce the cultural context of division in the United States and Colombia.
Division Review
Time: 15 min
Review the basic concepts of division. (divisor, dividend, remainder and quotient)
Perform division exercises with one and two-digit numbers to review the basics of the division process.
Clarify any questions or doubts about the basic concepts of division.
Materiasl: Whiteboard
Division by Three-Digit Numbers
Time: 15 min
Explain the process of dividing three-digit numbers by one-digit numbers (in the US way) Explain to students the cultural aspects and how people can have different ways to solve a division problem depending on their countries and cultures)
Use examples on the board to demonstrate the process step by step.
Students practice solving exercises of this type in pairs or individually on a worksheet.
Comparison of Division Methods
Time: 10 min
The student-teacher gives students two sheets with the two different processes (Colombia and the United States), then the student-teacher asks students to find and tell what they can see differently.
Reflection and Closure
Time: 10 min
Ask students to reflect on what they have learned about division by three-digit numbers and the cultural differences in division methods.
Ask students what method they like the most.
Student-teacher concludes the lesson by reinforcing key concepts and highlighting the importance of understanding and respecting the various ways division is performed in different parts of the world
|
oercommons
|
2025-03-18T00:34:24.162545
|
06/05/2024
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/116617/overview",
"title": "DIVIDING BY 3 - DIGITS NUMBERS",
"author": "Ana Yazmin Peña Cortes"
}
|
https://oercommons.org/courseware/lesson/115934/overview
|
Imperialism Around the World Project
Overview
This resource contains instructions for doing a project called "Imperialism Around the World." Students will be asked to create a trip around the world through the past. The project asks students to include representations of the experiences of those creating colonies (Europeans) and those colonized (indigenous peoples).
Attachments
The attachment for this resource is a set of slides explaining a sample project about imperialism in world history. The slides include a description of the project, project requirements, a sample timetable for completing the project, a rubric, and resources for students as they work on their projects.
NOTE: these slides are in PDF form, not a PowerPoint or Google Slides presentation.
About This Resource
The sample assignment was submitted by a participant in a one-day workshop entitled “New Approaches to Frontier History” for world history teachers hosted by the Alliance for Learning in World History.
This resource was contributed by Louise Anderson.
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oercommons
|
2025-03-18T00:34:24.181062
|
Lesson Plan
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/115934/overview",
"title": "Imperialism Around the World Project",
"author": "Homework/Assignment"
}
|
https://oercommons.org/courseware/lesson/65700/overview
|
DIY TERRARIUM
Overview
Build your very own terrarium with Kayla from the Baltimore County Public Library.
Introduction
Introduction
Today we are going to create our own indoor terrariums! You can build one very easily with things you find in your yard or even out on a walk! This project is perfect for children or adults of any age but would be better suited for more of the elementary age kiddos.
Learning Element
Learning Element
This is an enclosed terrarium that has been active for about six months. Once all the materials were inside and it was constructed, the lid has not been removed and it survives on a continuous water condensation cycle. The science of how it works is simple. Once everything is inside your terrarium, water it just enough to get the soil a little moist. After the lid is on and it is in a sunny place with lots of light, it survives on the evaporated moisture in the soil that rises to the top as a result of the increased temperatures from the sunlight. Once enough water accumulates at the top of the terrarium, it forms water droplets that are heavy enough to fall back down onto the plants just like rain and into the soil to water the plants and start the cycle all over again.
This project is great not only for fun, but for parents/guardians completing online learning at home it’s a great science project to learn more about the life cycle of plants, evaporation and experiment with keeping plants alive.
Supplies
Supplies Needed:
Here is what you will need to get started:
-A clear sealable jar or container. A well-cleaned pasta jar with the label removed is a perfect beginner terrarium container.
-pebbles or small rocks for the gravel layer. You will need enough to make about an inch worth of gravel in your container (depending on size)
-enough dirt to cover the gravel layer. You will need about 3-4 times as much dirt as the gravel layer
-moss and other plants you are interested in using. For terrariums, the best types of plants are ones that stay very small and require little maintenance like a mini ivy plant or small ferns.
-water for your plants
-any decorations (metal/plastic) that you want to add to your creation
Assembly
Assembling:
Once you’ve gathered your supplies, it is now time to assemble the terrariums.
First, we are going add the gravel layer. Again, this is very important for drainage and will make sure that the soil & plants do not get over watered.
The next layer is the soil layer. This is where most of the water will accumulate.
Next, we will add our plants and in my case moss. When collecting moss, take a small shovel and scoop it up trying not to disturb the grass and area around it.
After the moss, you can add any decorations. This terrarium has a couple little stones to jazz it up. You can add little figures, LEGOs or pretty much anything metal, wooden or plastic that won’t deteriorate immediately.
After that, simply water your terrarium with a small amount of water. We want to be careful not to overwater it, otherwise it will keep too much water inside the container.
The last step is to put the lid on tightly and place in a sunny, well-lit area. If you notice that over time the plants seem to be losing their nice green color, you can take the lid off and add more water to its evaporation cycle. Congratulations! You have now made a self-sustaining terrarium. Thank you so much for joining me today! You can find resources like this and more on our website www.bcpl.info. See you next time!
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oercommons
|
2025-03-18T00:34:24.198376
|
Kayla Pope
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/65700/overview",
"title": "DIY TERRARIUM",
"author": "Alexandra Houff"
}
|
https://oercommons.org/courseware/lesson/91264/overview
|
LEARNING ACTIVITY SHEET HANDICRAFT WEEK 3-4
Overview
Different embroidery stitches
LEARNING ACTIVITY SHEET HANDICRAFT WEEK 3-4
Different embroidery stitches
|
oercommons
|
2025-03-18T00:34:24.214592
|
03/22/2022
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/91264/overview",
"title": "LEARNING ACTIVITY SHEET HANDICRAFT WEEK 3-4",
"author": "Ginalyn Pallorina"
}
|
https://oercommons.org/courseware/lesson/71063/overview
|
Education Standards
Bee Waggle Dance Observation Card - Gordon
Bee Waggle Dance Observation Card - Heather
Bee Waggle Dance Observation Card - Jamar
Bee Waggle Dance Observation Card - Karl
Bee Waggle Dance Observation Card - Peg
Waggle Dance Blank Observation Card
Waggle Dance Pretest
Waggle Dance Student Introduction
Proportional Reasoning and the Bee Waggle Dance
Overview
Math in Real Life (MiRL) supports the expansion of regional networks to create an environment of innovation in math teaching and learning. The focus on applied mathematics supports the natural interconnectedness of math to other disciplines while infusing relevance for students. MiRL supports a limited number of networked math learning communities that focus on developing and testing applied problems in mathematics. The networks help math teachers refine innovative teaching strategies with the guidance of regional partners and the Oregon Department of Education.
LESSON OVERVIEW
Introduction
Students will use proportional reasoning and angle measurement to analyze a hypothetical bee hive location and the related food sources visited by the bees. Using unit conversions and scaling, they will determine an average rate for the duration of the bee’s waggle dance relative to different food source distances from the hive. They will also look at how the angle of the waggle dance in the hive is related to the angle between the sun and the food source with the hive as the vertex. They will propose new hive locations and create the waggle dance observation cards that will verify the bees are using different food sources around their proposed hive.
Background for Teachers
Bees perform a waggle dance in the hive to communicate the location of food sources to other bees. The waggle dance provides information about the distance of the food source and thedirection of the food source from the hive. The duration of the straight line section of the waggle dance is directly proportional to the distance of the food source. The roughly linear relationship where y=distance in meters and x=time in seconds is approximately y=1050x. The angle of the waggle dance relative to vertical in the hive replicates the angle between the food source and the sun relative to the hive as the vertex of the angle.
Note: Bees also perform two other dances for closer food sources (round dance and sickle dance) and typically do the waggle dance for distance of 150 meters or more. For simplicity, this problem will use the term waggle dance for any distance.
Core Math Concepts
Students will understand that scaling problems, unit conversion problems, and constant rate problems all can be solved using proportional reasoning.
Student Objectives
“I Can” Statements: (including extension activities)
Learning Target #1:
- I can recognize, represent, and explain proportions using tables, graphs, equations, diagrams, and verbal descriptions).
This means that:
I can determine whether two quantities represent a proportional relationship.
I can transfer my understanding of proportions to multiple real-world problems.
I can show that the waggle dance times either do or do not model direct variation.
Learning Target #2:
- I can measure and draw angles using a protractor and a ruler.
This means that:
I can measure angles between the sun and the food source from a waggle dance.
I can draw the waggle dance at the correct angle for a food source location.
Learning Target #3:
- I can use data, math concepts, and logic to determine a solution to the “Bee Problem”.
This means that:
I can use the given information and determine other information that may also be needed.
I can apply mathematical concepts and logic to determine a solution to the problem.
I can justify my claim using mathematical concepts and logic.
Materials
- Pre/Post Test
- Call to Action letter
- Map of Ashland Park System (printed on 11x17 paper for correct edited scale)
- Set of five Waggle Dance Observation cards for hive at location #11
- Sun Map for 3:00 pm June 1, 2016
- Sun Map for 3:00 pm June 1,2017 (for extension) Original
- Blank Waggle Dance Observation cards
Time Required
Two 60 minute class periods.
Authors
Heather Armstrong, Jamar Boyd, Peg Hansen, Gordon Sievers
Standards
7.RP.2 Recognize and represent proportional relationships between quantities.
7.RP.2.a Decide whether two quantities are in a proportional relationship, e.g., by testing for equivalent ratios in a table or graphing on a coordinate plane and observing whether the graph is a straight line through the origin.
7.RP.2.b Identify the constant of proportionality (unit rate) in tables, graphs, equations, diagrams, and verbal descriptions of proportional relationships.
7.G.A.2 Draw (freehand, with ruler and protractor, and with technology) geometric shapes with given conditions.
Practice Standards
MP 4 - Model with mathematics
LAUNCH - SETUP
Anticipated Time
20 minutes
Suggested Grouping
Individual, Pairs, Groups, Class Discussion. This task was designed to have the students work cooperatively in groups of 2 to 4.
Teacher Questions and Actions
Give students the Call To Action Letter. Have students read it and come up with their initial questions.
Make public record of questions. If communication question does not come up, teacher should ask it.
Show Georgia Tech College of Computing video: The Waggle Dance of the Honeybee
Have a whole class discussion about the two main ideas from the video:
Summarize the two main ideas:
- The distance to a food source is proportional to the length of the waggle dance.
- The angle of the waggle dance relative to straight up in the hive corresponds to the angle between the food source and the direction of the sun.
Student Moves
Possible questions:
- Why are bees important?
- What happened to the old hive?
- Why did they not go to certain parks?
- Why are bees becoming endangered?
- Why should we worry about bees?
- Why should scientists study bees?
- How far do bees fly from their hive?
- How do bees communicate where food is?
EXPLORE - INVESTIGATE
Part 1
Anticipated Time
20 to 30 minutes
Suggested Grouping
Individual, Pairs, Groups, Class Discussion. This task was designed to have the students work cooperatively in groups of 2 to 4.
Teacher Question and Actions
Give students the map of the Ashland Park System (printed on 11x17 paper).
Have students find all the locations mentioned in the Call to Action letter. Tell the students to use the map and the information about the locations to make a conjecture about how far bees will fly from the hive.
Example #1 in Student Moves shows how students may make mistakes in how to measure the initial distance between locations. Ideally, they could measure from center to center but that is difficult to do. Some students measured from outside to outside or inside to inside of both circles giving them inaccurate measurements. Teachers should guide them towards the idea of measuring outside to inside or inside to outside to best duplicate the center to center distance.
Another common problem to watch out for is students entering fractions incorrectly in calculator. Some students would see themeasurement of \(5 \frac{7}{16}\)inches and enter 5.7 in the calculator. Have them think what 0.7 means as a fraction and compare it to \(\frac{7}{16}\).
Students might not calculate the distance exactly. Some students used equivalent fractions to get to 5 inches = 2 miles and notice that two of the measured distances are just under 5 inches and two are just over 5 inches.
Once students have the distances in miles, have class discussion about how far they think bees fly. Tell students that bees will optimally visit food sources within a two mile radius of the hive.
Student Moves
Students should use the map scale to find the distance of the locations from the hive in miles. [Converting from inches to feet to miles or from inches to miles. Possible methods include equivalent fractions, proportions, and dimensional analysis.]
Student Example #1
Students should notice that the two locations bees were spotted at are just under two miles from the hive and the two locations where bees were not seen are just over two miles from the hive. [Two miles is the typical maximum distance most bees will fly.]
Part 2
Anticipated Time
45 minutes
Suggested Grouping
Individual, Pairs, Groups, Class Discussion. This task was designed to have the students work cooperatively in groups of 2 to 4.
Teacher Question and Actions
Give students the Set of five Waggle Dance Observation cards for hive at location #11 and the Sun Map for June 1, 2016.
This lesson was originally taught over 5 class periods and interpreting the relationship between the angle of the sun and the angle of the food source was difficult for many students. The process here has much more scaffolding to make the idea more accessible in a shorter time.
Have students draw a horizontal line through Site #11 (Siskiyou Mountain Park) on the park map similar to the horizontal line drawn through Hunter Park on the Sun Map.
Have students measure the angle down from the horizontal line to the ray going towards the sun using Hunter Park as the vertex.
Have students duplicate this angle by drawing a corresponding line on the park map using Siskiyou Mountain Park as the vertex.
Have students use the angles from the observation cards to find the straight line path that food source is along. If measured and drawn correctly, students should be able to determine the food source that corresponds to each observation card by finding the location along each line that is within two miles of Siskiyou Mountain Park.
Watch for students using the protractor incorrectly, especially reading from the wrong scale to get the angle measurement.
Example #2 shows the map with the correct direction lines based on the observation cards.
Answer Key:
| Observer | Site |
|---|---|
| Jamar | #4 |
| Peg | #6 |
| Heather | #24 |
| Gordon | #30 |
| Karl | #33 |
Note: Observer Karl is in honor of Karl von Frisch - Nobel Prize in Physiology or Medicine (1973) – for his work on insect communication and his study of the bee waggle dance.
Once students have determined the matching locations for the observation cards, have them find the distance in miles and then meters between Siskiyou Mountain Park and the food source locations.
[This is to be able to relate to the roughly linear relationship for the waggle dance duration y=1050x where y=distance to food source in meters and x=waggle dance duration in seconds.]
Using the calculated distances in meters and the waggle dance duration time from the observation cards, have the students find the unit rate for each of the five observed locations in meters per second.
Have the students find the average of the five calculated unit rates. This average rate will be used to work backwards through the calculations to find the waggle dance duration if they do the extension of creating their own waggle dance cards.
This is also a way to check if students’ calculations are reasonable and to see if their measurements and calculations show the scientific relationship between distance of food source and duration of waggle dance. [If the calculations are correct, the average should be close to 1050 meters per second.] Based on slight differences in measurements, I considered numbers between 1000 and 1100 to be fairly accurate.
Example #3 shows very accurate work with students measuring and calculating correctly.
Example #4 shows that the students either measured or calculated incorrectly for Site #24 with the unit rate being 1744. This also gave them an inaccurate average of 1189. This kind of mistake often happened when a student entered an incorrect decimal in place of the fraction they measured as was mentioned earlier.
Student Moves
Draw a horizontal (East to West) line on the map through location #11
Use SunCalc to find the angle to the sun.
Draw a line on the map showing the angle of the sun.
Choose one of the Waggle Dance cards to identify the angle of the bee flight. Rotating the card may help with visualization.
Draw the line of flight. In this case the card says the angle between the sun direction and line of flight is 71 degrees.
This is what the map may look like after all data is added. The arc shows the 2 mile maximum distance a bee will fly.
Students should use the map scale to find the distance of the locations from the hive in miles. [Converting from inches to feet to miles or from inches to miles. Possible methods include equivalent fractions, proportions, and dimensional analysis.]
This is similar to when students calculated the distance between the hive and food sources mentioned in the Call to Action letter.
Students should then convert from miles to kilometers using 1 mile = 1.60934 km and then multiply by 1000
Students should divide their calculated distance by the waggle dance duration for each of the five locations.
Students should average their five unit rate numbers.
Example #3
Example #4
SUMMARIZE - CLOSE
Anticipated Time
15 minutes
Suggested Grouping
Individual, Pairs, Groups, Class Discussion
Teacher Questions/Actions
Have students decide if the distances to food sources and duration of waggle dances for the five locations are proportional.
To sum up, I graphed the data from all the groups to show the nearly linear relationship that exists between food source distance and waggle dance duration.
This provided another chance to discover inaccurate results by noticing outlier data points and discussing what may have caused them.
Student Moves
Students should decide on whether the distances and times are proportional or not. [Possible methods are to compare the unit rates, compare the meters/seconds fractions, compare the meters divided by seconds as a rate of variation, make a table, make a graph showing an approximately straight line through the origin.]
Exit Tasks (Examples #5 and #6)
Give each student a blank Waggle Dance Observation card.
- Have students pick a possible hive location and a food source location within two miles.
- Have students calculate the waggle dance duration for that food source proportional to the average of the unit rates they calculated earlier.
- Have students create the observation card showing the direction of the waggle dance using the 2017 Sun Chart data.
Example #5
Hive at Site 23, Food Source at Site 35
Example #6
Waggle Dance Observation Card for Hive #23 and Food Source #35 and calculations to find waggle dance duration. The group’s average unit rate was 1052 meters per second.
Extensions
This lesson originally was taught over 5 days. These activities are beneficial for working with mathematical modeling but have been included as extensions to get the lesson completed in two days.
- Have students create several observation cards for a proposed hive site and other food source locations using the original 2016 Sun Chart data.
- Have students create several observation cards for a proposed hive site and using the sun map for June 1, 2017. They have to use a different reference direction for the sun location.
- Write a letter to the City of Ashland telling them about your proposed hive locations and why your group chose them. Explain your math and logic to justify your claim.
Examples #7 & 8 show how some students approached this part. If time had allowed, I would have had these letters looked at by a person with the Parks Department to get professional feedback on their letters.
Example #7 (Proposed hive locations and possible food sources to create observation cards)
Example #8 - Example Student Letters
References
Georgia Tech College of Computing. (2011, February 2). The Waggle Dance of the Honeybee [Video file]. Retrieved from https://www.youtube.com/watch?v=bFDGPgXtK-U
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oercommons
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2025-03-18T00:34:24.284356
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08/10/2020
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/71063/overview",
"title": "Proportional Reasoning and the Bee Waggle Dance",
"author": "Tom Thompson"
}
|
https://oercommons.org/courseware/lesson/67497/overview
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types of sentence
Assertive
Interrogative
Imperative
Exclamatory
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oercommons
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2025-03-18T00:34:24.308970
|
05/29/2020
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/67497/overview",
"title": "Grammar",
"author": "kakasaheb dhaygude"
}
|
https://oercommons.org/courseware/lesson/103250/overview
|
Education Standards
ELA Learning Plan
Overview
Learning Plan for individual Activity.
Using Learning Plans in the classroom.Learning Plan
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oercommons
|
2025-03-18T00:34:24.328407
|
04/30/2023
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/103250/overview",
"title": "ELA Learning Plan",
"author": "Sue Sander"
}
|
https://oercommons.org/courseware/lesson/87576/overview
|
Education Standards
K-6th scope & sequence
Internet Safety and Media Balance- grade K
Overview
This Digital Citizenship unit was created by the Snohomish School District. This strand in the unit focuses on: Internet Safety & Media Balance.
Internet Safety, Citizenship, & Media Balance
Overview
This Digital Citizenship unit was created by the Snohomish School District. This strand in the unit focuses on: Internet Safety & Media Balance.
Grade
Kindergarten
Duration
Two lessons, 20-30 minutes each.
Standards and Learning Objectives
Washington State Ed Tech Standards:
- 2.a. Students practice responsible use of technology through teacher-guided online activities and interactions to understand how the digital space impacts their life.
- 2.b. With guidance from an educator, students understand how to be careful when using devices and how to be safe online, follow safety rules when using the internet and collaborate with others.
- 2.d. With guidance from an educator, students demonstrate an understanding that technology is all around them and the importance of keeping their information private.
Washington State SEL Standards:
- BENCHMARK 4A - Demonstrates awareness of other people’s emotions, perspectives, cultures, languages, histories, identities, and abilities.
- BENCHMARK 4B - Demonstrates an awareness and respect for similarities and differences among community, cultural and social groups.
- BENCHMARK 4C - Demonstrates an understanding of the variation within and across cultures.
- BENCHMARK 5A - Demonstrates a range of communication and social skills to interact effectively with others.
- BENCHMARK 5B - Demonstrates the ability to identify and take steps to resolve interpersonal conflicts in constructive ways.
- BENCHMARK 5C - Demonstrates the ability to engage in respectful and healthy relationships with individuals of diverse perspectives, cultures, language, history, identity, and ability.
Washington State Computer Science Standards
- 1A-01: Select and operate appropriate software to perform a variety of tasks, and recognize that users have different needs and preferences for the technology they use.
- 1A-03: Describe basic hardware and software problems using accurate terminology.
Lesson One: Media Balance (20-30 minutes)
Materials
- Links for two videos, below
- Chart Paper (optional)
- Blank Drawing Paper (enough for each child in the class)
- Pencils
- Colored Pencils (or other coloring materials)
Formative Assessment
Student responses during discussion times will serve as formative assessment and guide the remainder of the lesson, including the possible need for more clarification or continued practice to gain understanding of concepts.
Procedure:
Media Balance Videos (5 minutes) Show the following 2 videos for the students.
- Media Balance is Important, Common Sense Education, August 2019 (Length: 1:57 minutes)
- Pause, Breathe, Finish Up, Common Sense Education, August 2019 (Length: 1:10 minutes)
Discussion Questions (5-10 minutes) Lead a discussion using the following questions as a guide and allowing for student comments and participation. You may want to create a place to write student answers.
- How many of you play on the computer or a phone sometimes?
- Has anyone ever been playing online and lost track of time?
- Have you ever run out of time to do something else you wanted to do because you were on the computer or the phone for too long?
- Has anyone ever seen this happen to their parents or an older sibling? Maybe they even have trouble putting their phone away?
- Who has ideas about why it might be important to put down your phone, close your computer, and get away from screens sometimes?
Active Game and Discussion (5-10 minutes)
- Have students stand and play a quick game of Simon Says (or Teacher Says.)
- Continue to play this version of Simon Says for about 5 minutes.
- Next, have students find their spots again, and get back into a listening space. When they are ready, ask some of them to tell the class how they feel after getting up and moving around.
- Make sure to make it clear that when they get up and move around, away from a screen, they may feel energized, happy, excited, among other positive feelings.
Finish-Up Art Activity (5-15 minutes)
- Brainstorm as a group a list of things kids like to do that are not on a screen.
- Have students choose one thing they like to do that isn’t on a screen and draw a picture of it.
Lesson Two: Online Safety & Citizenship (20-30 minutes)
Additional Resources
Safety in My Online Neighborhood, by Common Sense Media | CC BY NC ND
Materials
- Videos: What Is the Internet & My Online Neighborhood (links below)
- Link to Google Earth Zoo field trip to show on Smart Board (see below)
- Virtual Field Trip sites cued up and ready to go (see links below)
Formative Assessment
Student responses during discussion times will serve as formative assessment and guide the remainder of the lesson, including the possible need for more clarification or continued practice to gain understanding of concepts.
Procedure:
My Online Neighborhood Video (5 minutes)
- What Is The Internet?, Planet Nutshell, Utah Education Network, June 2014 (Length: 2:23)
- My Online Neighborhood, Common Sense Education, August 2019 (Length: 3:30 minutes)
Discussion Questions (5-10 minutes) Pull up the Google Earth link to Zoos Around the World on your Smart Board. Lead a discussion using the following questions as a guide and allowing for student comments and participation. You can choose if you’d like to stay within one of the zoo locations, or click through multiple. You may want to create a place to write student answers.
- Link to Google Earth field trip: Zoos and Animal Parks
- This is a place in the real world. If you went to this place in person, what are some things you should do to be safe? (Look for answers such as: Being aware of where your family is. Paying attention to where there are strangers, and staying close to someone you know.)
- We can also go to these places on a phone or the computer, like we are doing now. What are some things you should do online to be safe? (Look for answers such as: Make sure an adult knows you are going online. Only talk to people you know. Stick to places that are right for kids. )
Online Field Trip Activity (5-10 minutes)
- Together, or individually, have students try an online field trip. Some suggestions and their links are below. If done as a group, these sites could be pulled up on a Smart Board. Alternatively, you could have a station set up for kids to try some of these on their own.
- https://artsandculture.google.com/project/street-view
- https://www.museumofflight.org/Explore-The-Museum/Virtual-Museum-Online
- Scroll down to see links to all the airplanes you can tour virtually.
- https://explore.org/livecams
- Lots of options for live nature cams all around the world.
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oercommons
|
2025-03-18T00:34:24.374744
|
shaelynn charvet bates
|
{
"license": "Creative Commons - Attribution - https://creativecommons.org/licenses/by/4.0/",
"url": "https://oercommons.org/courseware/lesson/87576/overview",
"title": "Internet Safety and Media Balance- grade K",
"author": "Lesson Plan"
}
|
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