ENG 225 EDU Teaching Effectively Eng225edudotcom

8/18/2019 ENG 225 EDU Teaching Effectively Eng225edudotcom

1/20

NG 225 DU Teaching ffecti

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2/20

ENG 225 Entire Course (Ash)

• ENG 225 ee! " D# " An Evolving $ndustryENG 225 ee! " D# 2 Narrative and %torytellingENG 225 ee! " #ui&ENG 225 ee! 2 D# " Actors and ActingENG 225 ee! 2 D# 2 Tools of Cinematogra'hyENG 225 ee! 2 Assignment Elements of DesignENG 225 ee! 2 #ui&ENG 225 ee! D# " rame *y rameENG 225 ee! D# 2 +usic and %oundsca'esENG 225 ee! Assignment inal ilm Criti,ue Draft

ENG 225 ee! #ui&ENG 225 ee! - D# " The Cinematic Auteur

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3/20

NG 225 ee! " D# " An vol

ving $ndustry (Ash)

•An volving $ndustry. /o0 are the $nternet and other technologies currently affecting the 0ays in 0hich movies are 'roduced1 distri*uted1 and ehi*ited3 Are the changes having an im'act on the ,uality or de'th of the films3 4rovide s'ecific eam'les as you e'lain your 'oint of vie0.

http://www.eng225edu.com/product-39-ENG-225-Week-1-DQ-1-An-Evolving-Industryhttp://www.eng225edu.com/product-39-ENG-225-Week-1-DQ-1-An-Evolving-Industryhttp://www.eng225edu.com/product-39-ENG-225-Week-1-DQ-1-An-Evolving-Industryhttp://www.eng225edu.com/product-39-ENG-225-Week-1-DQ-1-An-Evolving-Industryhttp://www.eng225edu.com/product-39-ENG-225-Week-1-DQ-1-An-Evolving-Industryhttp://www.eng225edu.com/product-39-ENG-225-Week-1-DQ-1-An-Evolving-Industryhttp://www.eng225edu.com/product-39-ENG-225-Week-1-DQ-1-An-Evolving-Industry


4/20

NG 225 ee! " D# 2 Narrativ

e and %torytelling (Ash)

•Narrative and %torytelling. E'lain the difference *et0een a films story and a films 'lot. Use a s'ecific film to illustrate your 'oint of vie0. $n the film you chose1 are the events 'resented chronologically or are they 'resented non6linearly3 hat might a filmma!ers intentions *e 0hen he or she chooses to 'resent events chronologically or in non6linear order3 /o0 are elements li!e character develo'ment or foreshado0ing used differently *et0een the t0o storytelling methods3

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5/20

NG 225 ee! " #ui& (Ash)

•". #uestion 7 hat is the most im'ortant role of a film critic3

•2. #uestion 7 hat is the most li!ely reason that theatrical m

ovies have survived com'etition from television and various

home video formats3

•

. #uestion 7 $n a scene from 8utch Cassidy and the %undanc

e 9id1 the title characters are holed u' inside a *uilding discu

ssing their 'lans for future *an! ro**eries 0hile the audienc

e is sho0n the entire 8olivian army gathering outside to !ill t

hem. The filmma!ers are ma!ing use of 0hat literary element

in this scene3

•-. #uestion 7 hy is there ty'ically a lag time *et0een a movi

es theatrical release and its home video release3

•5. #uestion 7 hich of the follo0ing *ecame an im'ortant ne

0 com'etitor for theatrical movies in the ":;story?3

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6/20

NG 225 ee! 2 Assignment

lements of Design (Ash)

• lements of Design. During the 'rocess of envisioning and designing a film1 the director1 'roduction designer1 and art director (in colla*oration 0ith the cinematogra'her) are concerned 0ith severalma@or s'atial and tem'oral elements. These design elements 'unctuate and underscore the movement of figures 0ithin the frame1 including the follo0ing7 setting1 lighting1 costuming1 ma!eu'1 and hairstyles. Choose a scene from moviecli's.com. $n a three to five 'age 'a'er1 (ecluding the cover and reference 'ages) analy&e the mise6en6scne.

• Bes'ond to the follo0ing 'rom'ts7

• $dentify the names of the artists involved in the films 'roduction7 the director1 the 'roduction designer1 and the art director. Descri*ein se'arate 'aragra'hs each artists role in the overall design 'rocess. Conduct additional research if necessary1 citing your *oo!1 film1and other eternal sources correctly in A4A format.

http://www.eng225edu.com/product-34-ENG-225-Week-2-Assignment-Elements-of-Design-http://www.eng225edu.com/product-34-ENG-225-Week-2-Assignment-Elements-of-Design-http://www.eng225edu.com/product-34-ENG-225-Week-2-Assignment-Elements-of-Design-http://www.eng225edu.com/product-34-ENG-225-Week-2-Assignment-Elements-of-Design-http://www.eng225edu.com/product-34-ENG-225-Week-2-Assignment-Elements-of-Design-http://www.eng225edu.com/product-34-ENG-225-Week-2-Assignment-Elements-of-Design-http://www.eng225edu.com/product-34-ENG-225-Week-2-Assignment-Elements-of-Design-


7/20

NG 225 ee! 2 D# " Actors and Acting (Ash)

•Actors and Acting. The tet defines five ty'es of actors7 $m'erson ator1 4ersonality1 %tar1 ild Card1 and Character . Come u' 0ith eam'les of each ty'e of actor (in addition to those identified in the tet) and e'lain in detail 0hy you thin! they fit each 'articular category.

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8/20

NG 225 ee! 2 D# 2 Tools of Cinematogra'h

y (Ash)

•Tools of Cinematogra'hy. Choose any film cli' from +oviecli's.c om ('refera*ly from a film 0ith 0hich you are familiar). After revie0ing your chosen scene1 e'lain ho0 cinematogra'hy is used 0ithin that scene. /o0 does the cinematogra'hy inform the setting3 /o0 does it inform the characters3 hat do the choices made *y thecinematogra'her tell you a*out the mood at this 'oint 0ithin the story3 /o0 does the cinematogra'hy contri*ute to sym*olism andor meta'hors in the cli'3

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9/20

NG 225 ee! 2 #ui& (Ash)

•". #uestion 7 hich s'ecial effects techni,ue is *eing used in

television 0eather re'orts in 0hich meteorologists stand in f

ront of moving ma's3

•2. #uestion 7 hich of the follo0ing is true of the differences

*et0een film acting and stage acting3

•. #uestion 7 hat is another name for the cinematogra'her3



10/20

NG 225 ee! Assignment i

nal ilm Criti,ue Draft (Ash

)

•Beflective 4a'er Draft. Bevie0 the final 4a'er instructions in ee! 5 of the online course or in the >Com'onents of Course Evaluation? section of this guide. Then1 visit the Ashford riting Center located under the earning Besources ta* on the left navigation tool *arin your online classroom. The outline must contain7

• a. $ntroduction 0ith thesis statement

• *. At least five *ody 'aragra'hs

http://www.eng225edu.com/product-30-ENG-225-Week-3-Assignment-Final-Film-Critique-Draft-http://www.eng225edu.com/product-30-ENG-225-Week-3-Assignment-Final-Film-Critique-Draft-http://www.eng225edu.com/product-30-ENG-225-Week-3-Assignment-Final-Film-Critique-Draft-http://www.eng225edu.com/product-30-ENG-225-Week-3-Assignment-Final-Film-Critique-Draft-http://www.eng225edu.com/product-30-ENG-225-Week-3-Assignment-Final-Film-Critique-Draft-http://www.eng225edu.com/product-30-ENG-225-Week-3-Assignment-Final-Film-Critique-Draft-http://www.eng225edu.com/product-30-ENG-225-Week-3-Assignment-Final-Film-Critique-Draft-http://www.eng225edu.com/product-30-ENG-225-Week-3-Assignment-Final-Film-Critique-Draft-http://www.eng225edu.com/product-30-ENG-225-Week-3-Assignment-Final-Film-Critique-Draft-


11/20

NG 225 ee! D# " rame *y rame (Ash)

•rame *y rame. Choose one of the follo0ing video cli's for the discussion7

• 4sycho (":=


12/20

NG 225 ee! D# 2 +usic and %oundsca'es

(Ash)

•+usic and %oundsca'es. Using the video cli's1 *elo01 identify and descri*e the three *asic categories of sound in film as descri*edin the tet. hich of the three categories is 'rominent in each of the cli's3 /o0 does the use of sound inform the mood of the scene3Does it com'lement or 0or! against the scene3

• Fa0s (":5)

• HouIve Got +ail ("::;)

• The +as! ("::-)

http://www.eng225edu.com/product-31-ENG-225-Week-3-DQ-2-Music-and-Soundscapes-http://www.eng225edu.com/product-31-ENG-225-Week-3-DQ-2-Music-and-Soundscapes-http://www.eng225edu.com/product-31-ENG-225-Week-3-DQ-2-Music-and-Soundscapes-http://www.eng225edu.com/product-31-ENG-225-Week-3-DQ-2-Music-and-Soundscapes-http://www.eng225edu.com/product-31-ENG-225-Week-3-DQ-2-Music-and-Soundscapes-


13/20

NG 225 ee! #ui& (Ash)

•". #uestion 7 hat is the name of the 'rocess used to create

everyday sound effects in films3

•2. #uestion 7 hat is the correct technical name for the musi

c that 'lays in the *ac!ground of a scene 0hile the action ta!

es 'lace3

•. #uestion 7 According to scholars1 0hat is one 0ay the adve

nt of tal!ing 'ictures changed the *ehavior of movie audienc

es3

•-. #uestion 7 hich of the follo0ing tends to *e true of silent

film acting as o''osed to sound film acting3

•5. #uestion 7 %oviet filmma!er %ergei isenstein 'romoted 0h

ich idea a*out editing3



14/20

NG 225 ee! - D# " The Cinematic Auteur (

Ash)

•The Cinematic Auteurist. +uch in the same 0ay 'eo'le have favorite authors 0ho create certain e'ectations from their 0riting1 0e have the auteurist theory in film. E'lain 0hy the auteurist theory has *ecome so im'ortant to film analysis. hat are some arguments against auteurist theory3 /o0 does auteurist theory affect the0ay that films are mar!eted3 /o0 does it affect the 0ay that filmsare analy&ed *y critics and audiences3 4lease use an actual filmdirectormar!eting cam'aign to illustrate your 'oints.

http://www.eng225edu.com/product-28-ENG-225-Week-4-DQ-1-The-Cinematic-Auteurhttp://www.eng225edu.com/product-28-ENG-225-Week-4-DQ-1-The-Cinematic-Auteurhttp://www.eng225edu.com/product-28-ENG-225-Week-4-DQ-1-The-Cinematic-Auteurhttp://www.eng225edu.com/product-28-ENG-225-Week-4-DQ-1-The-Cinematic-Auteur


15/20

NG 225 ee! - D# 2 lements of Genre (Ash

)

• lements of Genre. After 0atching three of the five movie cli's listed in the +ultimedia section1 a*ove1 descri*e ho0 they fit into a s'ecific genre (or su*genre) as e'lained in the tet. hat elementsof the film are characteristic of that genre3 /o0 does it fulfill the e'ectations of that genre3 /o0 does it 'lay against these e'ectations3

http://www.eng225edu.com/product-27-ENG-225-Week-4-DQ-2-Elements-of-Genre-http://www.eng225edu.com/product-27-ENG-225-Week-4-DQ-2-Elements-of-Genre-http://www.eng225edu.com/product-27-ENG-225-Week-4-DQ-2-Elements-of-Genre-http://www.eng225edu.com/product-27-ENG-225-Week-4-DQ-2-Elements-of-Genre-


16/20

NG 225 ee! - #ui& (Ash)

•". #uestion 7 hich of the follo0ing films is an eam'le of th

e classic >scre0*all comedy?3

•2. #uestion 7 hich critic is *est !no0n for o''osing the aute

ur theory3

•

. #uestion 7 hat is a term for chea'1 ,uic! 0esterns that 0

ere churned out in large num*ers3

•-. #uestion 7 hy 0as The 8irth of a Nation such a controver

sial film1 in s'ite of its technical *rilliance3

•5. #uestion 7 $n 0hich auteurs films are you most li!ely to en

counter gritty1 ur*an su*@ect matter3

•=. #uestion 7 hich of the follo0ing is the >outer circle1? or m

inimal re,uirement1 of Andre0 %arriss model of the auteur t

heory3

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17/20

NG 225 ee! 5 D# " ocus on %ociety (Ash)

•ocus on %ociety. Fust as some *oo!s are 'reserved and regardedas having had o*vious effects on society (such as Eolita 1Eord of the)lies 1 and Jr0ells Animal )arm and ":;- )1 there have *een a num*er of films that 0e loo! *ac! u'on 0hich have clearly had culturalresonance1 or *ecame 'art of a social dialogue 0ere 'erha's still engaged 0ith today (see igure :." of the tet). Jur tet tells us that>the im'act of these movies is mostly unintentional? and that thereis de*ate a*out 0hether the movies caused a societal shift1 or if a change in the culture caused the movie to *e created (see 'age 2=2). The tet also says that the eact nature of this echange >is u' to

you to decide.

http://www.eng225edu.com/product-25-ENG-225-Week-5-DQ-1-Focus-on-Society-http://www.eng225edu.com/product-25-ENG-225-Week-5-DQ-1-Focus-on-Society-


18/20

NG 225 ee! 5 D# 2 Criticism and Commentary (Ash)

•Criticism and Commentary. Bevie0s for movies are readily availa*le through ne0s'a'ers1 maga&ines1 *logs1 and other 'rint sources. +etacritic.com 'rovides full revie0s for a multitude of movies. ind a revie0 for a film1 'refera*ly one that you have seen. According to the distinctions made in Cha'ter Ten1 ho0 is the revie0er a''roaching the film. To 0hat degree does the revie0 ac!no0ledge the'u*lic 'erce'tion of the film3 hat evidence does each revie0 'rovide to illustrate main 'oints and claims3 Do any 0ords or 'hrasesca'ture the essence of the revie0ers attitude to0ard the film3 Additionally1 'lease share 0ith the class eactly 0hich sources you rely

on1 as a mem*er of the general audience to evaluate 0hether or not you 0ill see a movie.

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19/20

NG 225 ee! 5 inal ilm Criti,ue (Ash)

• Bevie0 the critical analysis ,uestions in the >Conclusion and Critics Besource? section of your tet*oo!. rite an eight to ten 'age film criti,ue (ecluding the cover and reference 'ages) of an American feature film of your choosing. Use the list of critical analysis ,uestions 'rovided in your tet*oo! as a guide 0hile 0riting your 'a'er.

• Areas that must *e covered7

• %torytelling

• Acting

•

Cinematogra'hy• Editing

• %ound

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20/20

NG 225 DU Teaching ffecti

vely eng225edudotcomFOR MORE CLASSES VISIT

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ENG 225 EDU Teaching Effectively Eng225edudotcom