“Director/Conductor” by La Chachalaca Fotografía is licensed under CC BY-NC 2.0

Summary

A guide to planning, researching, and creating your IB Film Text Analysis

• Follow the directions for each step below
• Include for your notes, where required

Student Work

• Justin’s Post, Draft Paper, Bibliography
• Neil’s Post, Draft Paper, Bibliography
• Satchel’s Post, Draft Paper, Bibliography
• Dexter’s Post, Draft Paper, Bibliography
• Sam’s Post, Draft Paper, Bibliography
• Jadee’s Post, Draft Paper, Bibliography
• Laari’s Post, Draft Paper, Bibliography

Guidance for Your Work

“The TA is an exam. Failure to turn in the work within the 4 weeks, unless the teacher requests extenuating circumstances directly from the IB, should be considered a fail.” – IB Film

13.5 Hours To Complete

• Please track how long it took you for each stage

Step 1 – Preparation: Spend 2 Hours

Total Time:

• Watch Mr. Le Duc’s Overview Video (10 minutes)
• Thoroughly read the TA requirements in IB Film Guide PDF (including rubrics) (15 minutes)
• Review the TA Task Details
  • Clear cover page with the Title of Film & Timecode (5-minute film extract)
  • Sans serif 12 point font
  • In-text citations
  • List of all sources
  • The textual analysis (1,750 words maximum) is intended to be a formalist exercise rather than a thesis-driven
    essay.
  • The focus of the work should be on how meaning is conveyed through the use of film elements in
    the chosen film text, with consideration of the cultural context of the film and communicated through the
    use of relevant and accurate film vocabulary common to the study of film and appropriate for film analysis.
  • In this task, the examiner is looking for evidence of the extent to which the student is able to demonstrate an
    understanding of:
    1. The cultural context of the chosen film text
    2. The use of film elements to construct meaning in the selected extract, using appropriate film vocabulary
    3. How the identified film elements in the selected extract relate to the cultural context of the film, to the film text as a whole and, where appropriate, to other films, as identified by the student
  • At the start of the textual analysis, students should clearly state which film elements they are going to
    discuss.
  • The list of all sources used is excluded from the textual analysis word limit
• Read Examples and Scoring Guides (45 minutes)
  • Textual Analysis Example 1 (scoring)
    
  • Textual Analysis Example 2 (scoring)
    
  • Textual Analysis Example 3 (scoring)
    
  • Textual Analysis Example 4 (scoring)
• Review the Big List of Film Terms (15 minutes)
• Review the Text Analysis Worksheet (PDF) (5 minutes)
• Explore the CHS Library: capital.osd.wednet.edu/academics/library (5 minutes)
• Explore The Moving Image Source Research Guide: www.movingimagesource.us (5 minutes)
  • The Moving Image Source Research Guide is a gateway to the best online resources related to film, television, and digital media
• Explore Mr. Le Duc’s Film Resources Page (5 minutes)
• Examine the TA Poster 1 (PDF) (5 minutes)
• 
• Examine the TA Poster 2 (PDF) (5 minutes)
• 

Step 2 – Pick a Film, Watch It, and Write Notes: Spend 4.5 Hours

Total Time:

The goal of IB Film is to expose students to films from all over the world and to increase their critical and practical understanding of film as a creative art form and reflection of its time period, society, and political and cultural environment. As a result, this class requires the viewing of a wide variety of films. In some cases, these films may carry an R rating, or, in the case of films made before 1968 and some foreign films, will have no rating at all. Please be assured that all the films selected for this course have a high degree of artistic merit and that many have won numerous awards and are considered part of the film canon. However, if you object to any film shown that does carry an “R” rating, you will always have the opportunity to request that an alternative film be assigned, and/or be excused from class and not view the film.

1. Watch the trailers and pick ONE of these films (or the two episodes) (10 minutes)
   • Pan’s Labyrinth [Spain/Mexico] Director Guillermo Del Toro 2006 (Rated R)
     • Trailer
     • Available on Netflix and other streaming services
     • Google Drive (Film and Commentary)
   • Across the Universe [USA] Director Julie Taymor 2007 (Rated PG-13)
     • Trailer
     • Available on Hulu and other streaming services
     • Google Drive (Film, Commentary, and Extra Features)
   • The Handmaid’s Tale, Season 1 Ep. 01 and 02 [USA] Director Reed Morano 2017 (Rated R – Mature Rating on Hulu)
     • Trailer
     • Available on Hulu
2. Review Drew’s TA Guide Sheet (he scored very high!) (10 minutes)
3. First Viewing: Watch the film and record your reactions (2 hours)
   • Take notes (below in this post)
     • How does the film (various scenes) affect you?
     • Remember every scene is like a mini-movie
     • Pay attention to which scene best represents the film, for you
4. Second Viewing: Notice the cinematography, mise en scene, actor movement, wardrobe, sound (diegetic, non-diegetic, music, etc.) choices (2 hours)
   • Review the Big List of Film Terms for cinematic elements, mise en scene (what’s represented on screen), and sound
   • Write notes (below in this post)

Notes:

• Film in different language: Spanish/Mexican film. Could alter how dialogue is given, and understood to the viewer.
• Later decided to watch the commentary version instead.
• Insect shot turns into a reaction shot, then shows the ruins.
• Showed the insect as being important.
• Can show the personality of a character with objects, as with a magnifying glass to make them obsessed with small details.
• Lighting changes extremely from the hallway to the bedroom (warm to cool).
• Scene changes from peaceful, and intimate, to a violent scene, that being of the labyrinth, and a changing of color palette, and into the scene of the men being killed.
• The scene of the killing of the two men seems to be quiet, and quick, and almost having no consequence. Even the guards seem to not care. The crickets are still chirping, it’s almost not a big deal.
• Camera is staged simply when the bug turns into a fairy.
• Camera is a lot more active in the fantasy world, compared to that of the real life world.
• Magical world was to feel used.
• Wipe transitions were extremely important, and are plentiful.
• Every character is at a crossroads.
• Some of the effects look a bit dated (vomit from the frog)
• Set in a time with almost no food, yet the people seem to have a feast.
• Dining room in real life is similar. With a monster at the head, but the difference is that real life is very square, but in the Pale Man’s room, it’s circular.
• There is a lot of ambiguity within the film, especially within the faun.
• Act Two starts with several things. Palette change, the two worlds colliding, etc.
• Magic is utilized every other scene in the film, like a pattern.
• In the amputation scene, it was cut short, yet in the execution scene earlier, it completely showed the violence. However, the commentary states that violence should only be shown when it is absolutely necessary.
• The contrast of the two worlds of the wall, with the inside being warm, and the outside being cold is stark.
• Shows a nice POV shot of the art on the walls.
• The act of instinct is distinct in this scene with the Pale Man. The act of not listening to the fairies, and that of eating from the banquet.
• Personal thing: I kind of think the “monster behind the unaware person” thing is stupid.
• Replacing the doctor’s head when he looks at the camera right at the end of the scene was really clever.
• One of the important parts of the real world and magical world being combined with the mandrake is used in such a small way.
• The way the director explains how the creatures are seen, as through a specific lens is interesting.
• Might sound weird, but the shot of the broken train, especially when the camera gets low looks similar to Star Wars, with the captain similar to that of Vader.
• Very unlucky that they shot during a drought, and had to artificially make the landscape look wet. Also having to artificially do recoil, and other effects.
• During the torture scene, I really thought they were going to do a transition with the pole, but, they didn’t.
• The torture scene shows how heartless/evil the captain is. With him seeming calm, throughout the chaos. How much he controls the scene.
• The death of the doctor was very unique. Simply done.
• Apparently a lot of the actors were seen as being miscast. With two in particular usually within comedy/light films.
• The shot of the umbrella transition to reveal others was unique.
• The transition from the captain from being the one in control to being tortured was I guess the word is rewarding.
• I thought the commentary was funny on him saying how cows are evil.
• The dynamic truly changes with this short event of scenes, with the captain losing his control, and instead of the rebels being slaughtered, it’s the other soldiers.
• Never mind, it goes back to normal.
• The blood when the princess gets shot seems more saturated compared to other instances of when blood is used.

Step 3 – Choose Your Extract, Watch It, Write Notes, and Research: 2.5 hours

Total Time:

1. Open your TA Bibliography Google Doc (In Your IB Google Drive Folder – Mr. Le Duc created)
   • You will add your MLA sources as you research
2. Choose your 5-minute extract (scene)
3. Re-watch this scene numerous times and write notes in the Task Analysis Guide (below) (15 minutes)
   • Narrative
   • Camerawork: Angles, and Movements
   • Composition
   • Lens: Depth of Field
   • Mise-en-scene
   • Blocking / Position of characters
   • Acting/body language
   • Acting style / method
   • Lighting / Cinema Lighting
   • Color scheme
   • Set/location/props
   • Set design
   • Costume, hair, makeup, class, gender fabric, color
   • Sound Design
   • Soundtrack/Score
   • Editing
4. Research to support your notes (1 hour)
   • Re-read Criterion A (Cultural Context) Rubric
   1. • Cultural context Evidence: Textual analysis and sources
        • Answer these questions:
          • To what extent do you demonstrate an understanding of the cultural context of the film text?
          • To what extent do you support your understanding of the cultural context with research from appropriate and relevant sources?
   • Add to your notes in the Task Analysis Guide
5. Re-watch your scene numerous times and add to your notes (15 minutes)
6. Research to support your notes (1 hour)
   • Re-read Criterion B Film Elements Rubric
     • Evidence: Textual analysis and sources
       • To what extent do you evaluate how the extract makes use of film elements to convey meaning in the chosen film?
       • To what extent do you support your observations with the appropriate use of relevant film vocabulary?
   • Write notes (below in this post)

Step 4 – Compose A Rough Draft: 2 hours

Total Time:

1. Watch Mr. Le Duc’s Convert a Table into Text with Editpad.org tutorial and do the following: (5 minutes)
   1. Copy and paste the two columns of your Text Analysis Guide notes (below) into editpad.org
      • This will convert your two-column table layout into a regular text document
   2. Copy and paste from editpad.org into your Google Docs TA Paper Template
2. Thoroughly re-read and examine your work with the Text Analysis Rubric (PDF) (10 minutes)
3. Compose your rough draft (1.75 hours)
   • Weave in your research the following
   • WHAT: Your observation about a film element in the 5-minute scene
   • WHY: Relate the film element to the shot or scene’s emotional or narrative importance
   • HOW: Explain how the film element works in the context of this scene
   • SO WHAT: Justify it with the cultural context, as needed

Step 5 – Get Draft Peer Reviewed: 30 Minutes

Total Time:

1. Get it peer-reviewed with the TA Worksheet (PDF) (30 minutes)
   • Peer Reviewer: Look for evidence of each section of the document
   • Look for WHAT, WHY, HOW for each statement in the paper
     • There should be at least one WHY or HOW or every WHAT statement
   • Look for cited research to support statements, where it makes sense
   • Write comments to help the author
     • Add them as “Add Comments” on the side, so you do not add to the word count of the document

Step 6 – Revise: 1 Hour

Total Time:

1. Revise your draft (1 hour)

Step 7 – Get Feedback from Mr. Le Duc and Revise: 30 Minutes

Total Time:

1. Get feedback from Mr. Le Duc
2. Make final revisions and check format (30 Minutes)

Step 8 – Finalize Paper and Cover Page: 15 Minutes

Total Time:

1. Clear cover page with the Title of Film & Timecode (5-minute film extract)
2. Sans serif 12 point font
3. In-text citations
4. Less than 1,750 words maximum

Step 9 – Finalize Bibliography and Check Format: 15 Minutes

Total Time:

1. Update your TA Bibliography Google Doc (In Your IB Google Drive Folder)
   • Finish and check the format of your MLA sources as you research

Step 10 – Upload to Turnitin.com: 10 Minutes

Total Time:

1. Upload your TA paper (from Your IB Google Drive Folder)
2. Upload your TA Bibliography Google Doc (from Your IB Google Drive Folder)

Text Analysis Guide (For your 5 Minute Scene)

TASK COMPONENTS (INQUIRY)	NOTES
The extract may be up to five minutes in length and must be a single, continuous sequence of the film
Time of 5-minute clip	PLACE 5 MINUTE TIME INTERVAL HERE…
PART 1 –  The film, your scene, why it is of interest, and how your scene relates to the whole film.
Brief Summary of Exposition Writer, Director, Producer, studio, year released Main characters, conflict, identify the genre. Identify the aspect ratio.
Context of Extract in Film – briefly describe the scene At what times does your scene occur, how it begins, and how it ends. Do not describe it further. The judges have seen the movie.
The Rationale for Selection – relation to the entire movie Why is it interesting and why does this scene best illustrate the themes of the whole movie?
PART 2 – Remember to integrate the Director’s intent with each of the following areas in this section
Narrative
Script – Not just dialogue but in terms of being the spine of the storyExplain how this scene advances the plot. How do the events of this scene clarify/complicate matters? How does this scene affect/cause future events? What new information is revealed or suggested about a character? Is there anything deliberately withheld? Anything unusual in the dialogue? Word choice? Delivery? Accents? Repetition?
Cinema Photography
a) Camerawork – describe shots in specific termsShot size: ELS, LS (stage), full shot, MS, CU, ECU. Camera angles: bird’s eye, high angle, eye level, low angle or Dutch (oblique), camera movement: pan, tilt, dolly or tracking, handheld, Steadycam, or moving crane. Invisible V conspicuous. Are tracking shots motivated by character movement?
b) CompositionOpen/closed composition, aspect ratio, rule of thirds, Kubrick single-point perspective.
c) Depth of FieldConsider foreground, mid, ground, and background. Deep focus is associated with wide-angle lenses. Could be flat. Narrow ranges of focus may be the result of telephoto lenses.
Mise-en-scene – The overall look and feel of a movie
a) Position of characters and objectsIdentify the dominant, does movement guide our focus, character proxemics patterns (intimate,  personal, social, and public distances). How does the director add meaning to these choices? Is one character encroaching on another’s space? Watch for space being used to portray relationships/changes in relationships. Watch for windows, doors, parallel lines that frame people or objects.  Entrapment. Look for actor placement. Front – actor facing camera, greatest intimacy. One-Quarter Turn – very popular. Profile – character lost in the moment, a bit more distant than the previous two. Three Quarters Turn – useful to convey anti, socialness, Back of Head, most anonymous shot.  Creates a mystery or feeling of alienation.
b) LightingLow or high key. How does the director use light to focus our attention? Key, fill, and backlighting. What is the source of lighting in the context of the scene?
c) Color schemeHow does the director use color and what is the director’s intent for doing so? Look for color symbolism or color associated with characters. Color to suggest a mood. Color as foreshadowing. Contrasting colors ( the monolith v white room)
d) Set/location/propsSet design. Studio or on, location, describe props, scenery, what was the Director ́s intent for using them? How dense is visual information? Stark, moderate, or highly detailed?
e) Costume, hair, make upPeriod, class, gender (emphasize or diminish), age-appropriate, silhouette (close-fitting or baggy), fabric (plain, sheer, rough, delicate), accessories. Color is very important in relation to character.
f) Acting/body languageActing style, body language, blocking, period, or contemporary. Individualized (Joker), Stylization. Look for subtext (character says one thing but means something else). Consider typecasting as a shortcut to characterization.
Sound – watch scene w/o picture Live sound, sound effects, and music. Sound can be diegetic, meaning characters would hear it, or non, diegetic, meaning that characters would not hear it, such as narration or music over the credits. Explore the relationship between diegetic and non, diegetic sound when appropriate.
Music Is the music telling you what to feel?  Music can be used as a counterpoint to the action.
Editing Ellipsis (time compression) and cross-cutting, fades, dissolves (fades between scenes), wipes,  matching cuts, straight cuts, dialogue overlap, and sound bridges. Consider how long each shot lasts.
Part 3: Analyzing the Film as a Product
Sociocultural Context In what way was this movie a product of its time? What does the audience learn about the culture or historical context of the film?
Target Audience Teens/adults or male/female age group, college education art crowd, liberal, conservative, Christian
Generic Expectations http://www.filmsite.org/filmgenres.html also research  http://tvtropes.org/pmwiki/pmwiki.php/Main/Tropes
Themes Man V Man, or one of the others, is this film an allegory?
Motifs/Symbols What specific devices support your definition of the theme? Look for recurring elements.
Film Criticism Both contemporary and current. Use brief quotes from two different sources. Record the details:  reviewers’ names and publication names/dates
TASK COMPONENTS (ACTION)
Compose Paper
Part 4: Sources
Source 1
Source 2
Source 3
Source 4
Source 5
Source 6
Source 7
Source 8
Source 9
Source 10
TASK COMPONENTS (REFLECTION)
Revision 1	Proofreader:
Revision 2	Proofreader:
Revision 3	Mr. Le Duc

External Assessment Criteria SL and HL

• Thoroughly re-read and examine your work with the Text Analysis Rubric (PDF)

Peer Review Checklist

• Use the TA Worksheet (PDF) for review of core elements for the peer review
• Use the TA Marksheet (PDF) for the inclusion of all needed elements in peer review

“Film scripts for sale in Soho! #newyork #newyorkcity #nyc #movies” by Nat Ireland is licensed under CC BY-NC 2.0

Summary

A guide to planning, researching and creating your DP Film Comparative Study

• Follow the directions for each step below
• Include for your work where it is required

Student Work

• To be placed after students create posts

Steps and Tasks

1. Brainstorm possible films for the task. You must select TWO films from contrasting cultural contexts.
2. Brainstorm and justify at least three different areas of FILM FOCUS for your two chosen films.
3. Brainstorm and justify at least two different CULTURAL CONTEXTS for your two chosen films.
4. Consolidate your ideas and develop at least three different RESEARCH QUESTION topics for your study. 
5. Finalize your choices and select your RESEARCH QUESTION. Choose two films for comparison.
6. Develop the main arguments you will make about your topic.
7. Collect evidence from the films that support your argument. All in a separate document.
8. Research secondary sources for information that supports your argument.
9. Write your Narration and plan the audio-visual components of your video essay.
10. Record, assemble, and edit your Comparative Study Video Essay.
11. Create a Works Cited document (separately) once your Comparative Study is finished.

Guidance for Your Work

“Simple formative analysis of film elements, no matter how precise or insightful, won’t cut it which is why the research question needs to be crafted in such a way that it provides scope for theoretical and socio-historic exploration. It’s basically an EE in disguise but focusing on two very different textual sources.”

• Thoroughly read the Comparative Study requirements in IB Film Guide PDF (including rubrics)
• Examine the CS Poster 1 (PDF)
• 
• Examine the CS Poster 2 (PDF)
• 
• Watch Garrett’s CS Example and Read Garrett’s Two Column Script
  • Notice the color designating justified film language elements
• Watch another example about South Korean New Wave

Comparative Study Task Components

For this assessment task, each student identifies, selects, and researches each of the following task components.

1. TASK 1: One area of film focus.
2. TASK 2: Two films for comparison from within the chosen area of film focus, one of which originates from a contrasting time (historical) or space (geographical) to the personal context of the student, and the other film identified for comparison must arise from a contrasting cultural context to the first film. Students are required to select films they have not previously studied in depth. The selected films cannot come from the prescribed list of film texts provided for the textual analysis assessment task and, once selected, the films cannot be used by the student in any other assessment task for the DP film course or the extended essay.
3. TASK 3: A clearly defined topic for a recorded multimedia comparative study, which links both the selected films and the identified area of film focus. Each student should invest time in researching, developing, and honing their topic (which in most cases is likely to be expressed in the form of a research question) to ensure it is clear, focused and concise, in order to provide them with the maximum potential for success in this task. The topic should seek to enrich the student’s understanding of the chosen area of film focus and should avoid a plot-driven approach to the comparison.

The assessment criteria for this task requires students to provide a strong justification for the choice of task components as part of the recorded multimedia comparative study. This includes the student’s justification for how films arise from contrasting cultural contexts.

1. FILM Choices List (Around 10 mins)

Which films are you considering for your final Comparative Study? List as many as you wish below as part of an initial brainstorm. Remember that you must select ​​TWO​​ films from contrasting cultural contexts for this task.e.g. CITIZEN KANE	Year, Country, and Director of the films e.g. 1941, USA, Dir: Orson Welles
The Shawshank Redemption	1994, USA, Dir: Frank Darabont
The Martian	2015, USA, Dir: Ridley Scott
Get Out	2017, USA, Dir: Jordan Peele

2. Areas of FILM FOCUS

• Research Film Movements
• Research Film Genres
• Research Film Style (difference between genre and film style defined)
• Research Film Theory

Film Focus Possibility – identify the broad focus area and then add specifics (e.g. “THEORY – Auteur theory” or “GENRE – Horror”). Develop at least THREE options…you can create more by adding more rows.	Justification for this Film Focus. Be as specific as possible.
Genre, Prison	Applies for the Shawshank Redemption, due to Shawshank being set in a prison, Get Out due to Chris being stuck in his body/house, and the Martian with Mark being stuck on Mars.
Portrayal of Freedom	The idea of freedom is questioned in all three choices. Get Out shows the horror of losing freedom of your actions, Shawshank Redemption portrays this with Institutionalization, and The Martian portrays this due to Mark being stuck on Mars (?)
Drama	Two of these films rely not upon action sequences, but through visuals on what the characters are doing.

3. Chosen CULTURAL CONTEXT

For this assessment task, “cultural context” involves consideration of some of the following factors, some of which may be blended (such as socioeconomic factors).

• Economic, Geographical, Historical, Institutional, Political, Social, Technological

Identify at least TWO Cultural Context possibilities for your chosen films films.	Justification for this Cultural Context. Be as specific as possible.
Institutionalization	Institutionalization doesn’t just apply towards prisons, it applies towards any other culture. Watney in the Martian gets used to life on Mars, while Dufresne gets used to life in prison, and Shawshank Redemption heavily shows the idea of Institutionalization with Brooks.
Time frame of films	The Shawshank Redemption portrays mid 1900’s in an American prison, although all films are somewhat portrayed in America, time frame is important. The Martian takes place in 2035, and Get Out takes place in 2017. Social structure was completely different in these different times.

4. RESEARCH QUESTION Possibilities

Consolidate your thoughts above and develop at least ​THREE​​ different research question possibilities. More are possible by adding additional rows to the table below. FYI these will be shared with the full class for discussion of strengths and weaknesses.

Your Chosen Area of Film Focus	Topic for Comparative Study (written as a research question)
Portrayal of Freedom	How well does (Film 1/2) portray the idea of Freedom?
Genre, Prison	How does the representation between a prison differ between (films 1/2)?
Film Narrative	How does the portrayal of time differ between (films 1/2) and how does it affect the film as a whole?

5. Final Decisions

Using your topic options in the table above, select ​ONE​​ to be your final topic for this Comparative Study task. NOTE: There are examples from the IB of what this should look like below this table.

Your Chosen Area of Film Focus	Film 1	Film 2	Contrasting Cultural Context	Topic for Comparative Study practice task (written as a research question)
Genre, Prison	Shawshank Redemption	The Martian	Genre, Prison	How does the portrayal of a prison differ between the Shawshank Redemption, and the Martian?

6. Developing Your Topic

Develop 3-5 main arguments that can be made about your topic based on your research question and chosen film focus.	Brainstorm how you could support these arguments within your video essay.
Portrayal of time	How much time passes by throughout each film? Which film feels longer because of this?
The cause of the protagonists being in their place.	Dufresne is placed into Shawshank due to a (possibly false) murder of his wife. Watney is stuck on Mars due to a storm.
Ingenuity of protagonists.	Each prison has their own set of problems, and seeing how the protagonist deals with these could be seen.
How much does each of the protagonists want to escape?	The protagonists view the situations differently. Obviously, one is just on a completely different planet, with no other people, while the other is in a prison with fellow inmates.

7. Selecting Supporting Evidence (Primary)

Identify at least 15 scenes from your chosen films that will help support the arguments you have outlined above. Screen clip a frame from each scene below.	Write notes about how this scene helps support your argument. (These notes will help form your voice-over narration.)
	Watney is flown into the storm due to a piece of debris, which also pierces his suit.
	Despite having to leave a man behind, the other crewmates decide to leave due the situation, showing that he will be stranded for (mostly) the rest of the film.
	Dufresne in court, being formally sent into prison, for 2 life sentences. Showing who he was before being sent in.
	Dufresne approaches Shawshank, and sees the environment, and the people around it.
	Watney comes across an obstacle, that being which of a limited supply of food, and to solve that, he has to go through organic waste to create soil.
	Watney eventually creates a solution, and creates a greenhouse within to supply himself with food.
	Dufresne’s personal problem is with a gang called “The Sisters”, led by Bogs Diamond, who target him for months.
	Andy overhears the captain of the guard, Hadley, and get’s his trust through doing his taxes.
	Andy quietly requests the guards to beat up Bogs in his cell, and afterwards, having him sent to a mental hospital.
	To escape, Watney comes up with the idea to create a system of communication with NASA, utilizing a camera to look at hexadecimal letters. He eventually gets instructions on how to help him escape.
	Knowing he has to utilize the rover, he has to follow the rules to gather supplies to eventually escape the atmosphere.
	He eventually leaves the atmosphere, and is picked up by another ship that’s above orbit.
	Dufresne comes up with an escape utilizing a rock hammer that he got from a fellow inmate, Red, and a fake I.D. when doing the guard’s taxes.
	He utilizes a poster on his wall to cover up a large hole he carved in, and escape through the sewer system.
	Despite showing that Dufresne was in fact innocent, he had to break the rules to escape.

*Add more rows as needed.

8. Selecting Supporting Evidence (Secondary)

Identify at least 3-5 secondary sources (articles, books, websites, video essays, etc.) which provide information that help support your arguments being made. In this column include the specific source citations.	Summarize the detailed information from the secondary source that you can use in this column. (You can copy+paste if they are from online sources.)
https://www.youtube.com/watch?v=w3YLb5eMlRw	Video essay based upon how Andy finds his freedom within Shawshank.
https://shawshanktrail.com/sites-listed/shawshank-prison/	Some information solely upon the Shawshank prison.
https://www.gradesaver.com/the-martian/study-guide/summary	I haven’t actually watched “The Martian” in a while, so I just kind of read this to just understand the basics again.

*Add more rows as needed.

9. Writing Your Narration

Using the information, scene choices, and external sources you have compiled in parts 6-8, you will now write your voiceover narration and match it up to your chosen visual examples.

For the final Comparative Study, your narration should be no longer than 10 minutes in length.

Assemble in Two-Column AV Formatt in Celtx (Tutorial) or use Google Docs

Remember that you need to:

• COMPARE and CONTRAST your two chosen film using the arguments and evidence you identified in parts 6-8
• Begin your narration with a detailed justification for the chosen cultural contrast
• Use an equal balance of the two selected films.
• Write in a third-person voice to construct your argument (similar in tone to your Extended Essay and other
  comparative analytical work you have written in Film class).
• Identify where any WRITTEN TEXT will appear on the screen and highlight this (to reference during the
  creation/editing stage)

Voiceover Narration Ideas	Which visual evidence/scenes line up to this part of the narration?

10. Assembling the Comparative Study

Now you will collect all media resources needed for the task and construct your video essay.

REQUIRED STEPS

• Import the digital copy of your chosen films into editing software
• Identify and extract chosen scenes and clips
• Place and edit clips into a rough timeline for your video essay
• Record audio narration (both partners should participate in narrating this practice task)
  into an audio file using recording equipment (Zoom recorders, iPhone, DSLR Rode video
  mic, etc.)
• Import your recorded narration audio file into your project timeline
• Assemble, edit and fine-tune clips and narration until your video essay takes shape
• Create and add any required textual information in the timeline (including black slate at the start)
• Audio mixing of narration and movie clips (adjust levels so that narration and movie sounds complement each other)
• Export the final video essay movie file
  • Upload Unlisted draft to YouTube for peer review
• Create Works Cited list separately (Google Doc)

*NOTE: Separate tutorial and tips sessions will be held throughout this process to provide guidance on recording your voice-over narration and mixing the audio levels successfully.

Examples of Possible Task Components (from the IB)

Area of film focus	Film 1	Film 2	Possible topic for comparative study
Film movement: German Expressionism	The Cabinet of Dr. Caligari (1920)	Edward Scissorhands (1990)	How and with what effect are specific film elements of German expressionism used within a chosen contemporary film?
Film movement: French New Wave	Breathless (1960)	Badlands (1973)	The influence of the French New Wave on New Hollywood’s use of innovative film elements in its representation of youth and violence.
Film genre and film style: Black comedy	No. 3 (1997)	The Big Lebowski (1998)	To what extent do “black comedy” films differ according to cultural context?
Film theory: Soviet Montage	Battleship Potemkin (1925)	Koyaanisqatsi (1982)	To what extent are specific features of Soviet montage theory faithfully employed in a contemporary experimental film?

External Assessment Criteria SL and HL

• Thoroughly read and examine your work with the Comparative Study Rubric (PDF)

Peer Review Checklist

 

TASK COMPONENTS (ACTION)		Notes / Suggestions
__	Assemble Findings
__	Develop a personal and critically reflective perspective
__	Identify and gather appropriate audio-visual material to support the study
	SCREENPLAY
__	Justify the chosen topic and selected films
__	Make sure that the text is in a formal academic register (can be in the 1st person)
__	Balance between visual and spoken elements
__	Make clear reference to your sources as on-screen citations (text on-screen)
__	Make sure primary weight of evidence for the study from the two chosen films
__	Make sure each film is given equal consideration
__	Make sure film language information is communicated clearly throughout (avoid “to be” verbs – make statements like “blah is this.”)
__	Make sure information is communicated logically rooted in film language
__	Have another student highlight the WHAT WHY HOW in your draft screenplay
	VIDEO ESSAY
__	Recorded voice and edited commentary numerous times until happy with the material
__	Make sure your name and the school’s name ARE NOT IN THE ESSAY
__	Make sure to have 10 second title card with: 1. Area of film focus, 2. Titles of the two films for comparison, and 3. The chosen topic
__	Include breaks in your recorded commentary to enable other audio-visual material included in the study to be clearly heard (if needed)
__	Make sure film clip length matches points being made
__	Make sure still images have citations on-screen, if you have them
__	Make sure text on screen is legible and spelled correctly
__	Make sure information is communicated audibly (levels are good for all sound)
__	Make sure information is communicated visually appropriate manner
__	Make sure background music is from Creative Commons and is cited
__	Make sure edits are clean
__	Make sure presentation is 10 minutes maximum, including title card and credits
__	Make sure two films are listed in sources

“‘Be shapeless and formless.. like water’ (Bruce Lee)” by Akinini.com is licensed under CC BY-NC-ND 2.0

“Have a mind like water.”

― David Allen,  GTD

SUMMARY

• I’ve done some work for creating PSA’s on Sneakonthelot, and have learned about “happy chemicals”, and that I’m most likely extremely deficient on them.

PRACTICE ROOM (TUTORIALS)

• Quick thing: Couldn’t get past Development due to approval of the PSA Topic, but will continue later.

CLASSROOM (THEORY & ANALYSIS)

OUTSIDE (PRODUCTIVITY & THE BRAIN)

• Dopamine: Gonna have to be honest, although I do some (used to do one) of the activities given, I don’t feel like I get rewarded with that much dopamine. I used to regularly lift weights until we got back to Phase 1 in quarantine. I should probably start to do some other activities that help with this, because I’m literally not doing any of these recommended activities anymore. However, I will start to go to the gym again once it’s safe to do so.
• Oxytocin: Whelp, I really just listen to music, I don’t do any of these activities.
• Serotonin: Oh no, got no serotonin in me, and kind of feel the effects that are being described.
• Endorphins: Still don’t really do any of those activities.
• Conclusion: I should honestly try to do a few of these activities, like trying to exercise from home, which seems like the easiest for me to accomplish.

WHAT I LEARNED and PROBLEMS I SOLVED

• I’ve learned the basics of creating a PSA announcement, and that I have very little “happy chemicals” in me. I really should try to do other activities.

Teens are overwhelmed, partly because they don’t yet have the skills to manage the unprecedented amount of stuff that enters their brains each day.  – from LifeHacker.com

“Your mind is for having ideas, not holding them.”

“You can do anything, but not everything.”

― David Allen, (GTD) Getting Things Done for Teens: Take Control of Your Life in a Distracting World

SUMMARY

• Just did some stuff on Sneak on the Lot, and learning how to organize tasks more efficiently.

PRACTICE ROOM (TUTORIALS)

CLASSROOM (THEORY & ANALYSIS)

• Stress Free Productivity: Humans are built to do what’s natural. So, unnatural movements would be extremely hard to place into one’s lifestyle, not just physically, but also mentally. It’s important to understand that things easier in time, but only add up to stress, so it’s important to plan things out.
• Getting Things Done, Dave Allen: Understanding it’s important that your brain is better for creating ideas, and not holding them. It’s also important to understand the 5 simple steps for GTD (Capture, Process, Organize, Review, Engage)

LAB (THEORY PRACTICED)

Examine Two GTD Maps: Basic and Detailed

1. Detailed map by guccio@文房具社 icensed under CC BY-NC 2.0
2. Basic map from BiggerPlate.com embedded below

GTD-based Trusted System

• I usually just write on notepad the stuff I do and put it on my desktop, but I could try to utilize Trello.

OUTSIDE (PRODUCTIVITY & THE BRAIN)

• It’s important to know when to relax, and how to relax. Try not to overwhelm yourself.

WHAT I LEARNED and PROBLEMS I SOLVED

• I’ve learned that I really should understand what tasks I have to do, and understanding stress management. I’ve also switched from notepad to Trello.

“Ali film script” by Zadi Diaz is licensed under CC BY-NC-SA 2.0

“You can’t fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.” – Howard Hawks

SUMMARY

• We’ve learned the essentials of story writing. Going into through Celtx, and through Sneak on the Lot. We’ve also learned the universality of storytelling, and how most stories are incredibly similar, in terms of plot.

PRACTICE ROOM (TUTORIALS)

LAB (THEORY PRACTICED)

• Deadlines
• Requirements
• Time management
• Sleep schedule
• Procrastination

OUTSIDE (CREATIVITY & THE BRAIN)

 

• An extremely important deadline is coming up, while the protagonist is busy, an event comes up, and they have to divide their attention between these two objectives.
• A successful businessperson is gaining a lot of wealth, but unethically, then another person calls them out upon their actions.
• A person gets into a car crash with another, but one of the drivers has an important event coming up.

STUDIO (FILMING)

• • 

WHAT I LEARNED and PROBLEMS I SOLVED

• I’ve learned that I honestly don’t have much conflict in my life at the moment. There are only a few amount of goals that I currently have, and it’s difficult to come up with a decent story across them. My only two main goals are: to lift more at the gym, and to focus on schoolwork. That’s really about it, but I guess the journey to accomplishing these goals can have a story within them.

“Day 092/366 – To Do List” by Great Beyond is licensed under CC BY-NC-SA 2.0

Your toughest work is defining what your work is! –  Peter Drucker

SUMMARY

• Understanding time management, and setting important goals.

PRACTICE ROOM (TUTORIALS)

In this ‘room’ you are going to try Getting Things Done (GTD).

STEP 1: MAKE A LIST

• Film: Sneak on the lot, and a blogpost (?)
• Math Apps: Single homework assignment
• French: 3 assignments due that are taking away 20% of my grade, however there isn’t a late assignment markdown.
• Env Sciences: Niche Partitioning assignment
• English: All the President’s Men assignments
• History: Italy assignment
• TOK: Nothing
• College Apps: Still have to do some.

STEP 2: NOTICE WHAT YOU NOTICED

• Since my French grade is the lowest, I will try to focus on that, but I think Film will be the easiest to work on.
• Day 1 classes (French, Film, Math Apps) are of a high priority than day 2 classes (Env Sciences, English, History)

STEP 3: SET A TIMER

I will try to focus on the last blogpost (screenwriting), I will try my utmost to not get distracted.

OUTSIDE (PRODUCTIVITY & THE BRAIN)

• Set a timer
• Spend up to 20 minutes in this ‘room’
• Watch the first 30 seconds of this Oct. 2020 interview with David Allen

• Reflect on GTD and getting to the top of the colorful list above for a minute
  • How can the GTD process help you tame the crazy-busy dragon of modern life?

• Then, go for a 15-minute walk, if it is safe to do so
• Write a few sentence reflection
• DELETE ALL OF MR. LE DUC’s INSTRUCTIONS, AFTER YOU ARE DONE

OPTIONAL EXERCISE – Literally, read the article and go for another walk 🙂

“I coach C-suite executives and rising stars from the earliest startups to Fortune 100 companies. My passion is to help ambitious leaders achieve their full human potential.”  – Read more about Katia…

• Set a timer
• Spend up to 15 minutes reading…
  • FastCompany Magazine article about Katia Verresen’s techniques and GTD, https://www.fastcompany.com/3026827/the-brain-hacks-top-founders-use-to-get-the-job-done
• Then, go for another 15-minute walk, if it is safe to do so
• DELETE ALL OF MR. LE DUC’s INSTRUCTIONS, AFTER YOU ARE DONE

WHAT I LEARNED and PROBLEMS I SOLVED

• Write only a few sentences of WHAT YOU LEARNED
• In one or two sentences, describe a PROBLEM YOU SOLVED
• DELETE ALL OF MR. LE DUC’s INSTRUCTIONS, AFTER YOU ARE DONE

WEEKLY ACTIVITY EVALUATION

• Give feedback on this week’s class Content and Process
  • Fill in the Weekly Activity Evaluation
• DELETE THIS WHOLE SECTION, AFTER YOU ARE DONE