Edward Scissorplans: Teaching the Monster Tale across Genres Narrative Media & Teaching Film LAE 6881

June 14, 2005 Jennifer Conwell Joanna Rainaldi Lauren Tripp Avni Vyas

Synopsis of the Plot: Edward Scissorhands (PG-13)

The story begins with an old lady telling her granddaughter the story of snow. This opening frame leads into a framed story of how Edward came to live temporarily in a suburban town. Edward Scissorhands is the creation of an inventor who lives in a large gothic mansion at the end of a cookie-cutter suburban cul-de-sac. After Peg, the local Avon woman of the neighborhood brings him to live with her family, the women in the community become enthralled with the strange visitor who has scissors for hands. He becomes a self made man when he is able to demonstrate his scissorhanded skillfulness. He cuts bushes, dogs, ladies hair and majestic ice sculptures, prompting Pegs husband and the other citizens to encourage and respect him. Meanwhile, Pegs teenage daughter, Kim becomes the object of Edwards innocent affections. Through a series of flashbacks, it is revealed that Edwards creator took great pains to civilize his creation; however, he died before attaching Edwards human hands. The rest of the movie centers around Edwards struggle to belong and eventual exile due to his differences. By the end of the movie, Kim has come to love Edward. She protects him by telling the town that he died fighting with her jealous boyfriend in the mansion. At the close of the movie, it is revealed that the old woman telling the story is an elderly Kim. She concludes the bedtime tale by explaining that before Edward came down from his mansion, it had never snowed in the town.

Unit Objectives
Students will analyze the horror genre in print and film texts Students will compare different forms of the monster tale Students will apply reading strategies to the viewing of a film

By Avni Vyas Day 1 An Introduction to Fear Introduction/ Purpose: In studying literature, the genre of horror provides an interesting look at humanity: we see the power of fear, and what it can do to communities and individuals. Fear intrigues us because we are scared of what we do not understand. We see how monsters function as tools of fear, and also as empathic, humanized beings with thoughts and emotions. Horror often employs tools of surprise and suspense in film, but also explore the supernatural and unknown. In this unit, students will explore the genre of horror through the film Edward Scissorhands and discuss what it is to be human, what fear is, and how the medium of film accomplishes its goals as a text. The film study will segue into a unit on Frankenstein by Mary Shelley. In todays lesson, students will analyze what fear is, what they know of it, and how it works. Students will be introduced to the genre of horror using images and brainstorms to create a semantic map of The Plight of the Monster. Students will, as a class, create a semantic map of Horror based on class discussion and prior knowledge from previous texts, personal experience, and media. Students will also identify, analyze, and discuss the Monster tales they are familiar with, and, as a group, using images, represent an archetypical horror scene through drawing, or collage. Sunshine State Standards: La.e.2.4.1 - Student analyzes the effectiveness of complex elements of plot, such as setting, major events, problems, conflicts, and resolutions La.e.2.4.2 - Student understands the relationships between and among elements of literature, including characters, plot, setting, tone, point of view, and theme. La.e.1.4.1- Student identifies the characteristics that distinguish literary forms. Objective: Students will identify and organize examples of the horror genre. Students will create connections between examples through a semantic map graphic organizer. Students will discuss the role of archetypes in the genre. Students will synthesize examples of the horror genre by using the archetypes by creating a scene from a horror story. Materials: Overhead/ board where teacher can display class ideas, markers, white butcher paper, magazines, crayons Preparation: Students will be introduced to the genre of horror. At the beginning of class, students will view images of different characters in pop culture and literature. They will be asked to rate on a scale of 1-5 the Fear Factor of the image. They will be asked to justify why or why not each image is an image of horror. (Images and prompt provided at the end of lesson.) The teacher will lead a brief discussion asking students for definitions or examples of horror. As the class provides examples, the teacher will collect these examples on the board. Then, the teacher will ask students if they see any connections between any of the examples provided, and if these examples can be categorized or organized. The class will collaborate on a semantic web based on the examples provided by the students. The teacher will explain, that in addition to the class-generated definitions of horror, a working definition may also be used:

Horror fiction is, broadly, fiction in any media intended to scare, unsettle or horrify the reader. Historically, the cause of the "horror" experience has necessarily been the intrusion of an evil, or occasionally misunderstood, supernatural element into everyday human experience. Since the 1960s, any work fiction with a morbid, gruesome, surreal, exceptionally suspenseful or frightening theme has come to be called "horror". The purpose of this lesson is not only to introduce the theme of horror, but also to consider the plight of the monster in these horror works. In preparation for Edward Scissorhands, students will consider the differences between a perceived horror, and the perspective of an actual horror (or figure of horror). This lesson should promote discussion and critical thinking by use of familiar horror examples: what creates a horrific atmosphere in films? What naturally scares us? How could something familiar scare us? These questions should segue into the next topic of discussion, the archetypes of horror. Primarily, the teacher should use the students as a resource to provide definitions, but the following can be considered a working definition: Archetype is defined as the original model of which all other similar persons, objects, or concepts are merely derivative, copied, patterned, or emulated. The term is often used in literature, architecture, and the arts to refer to something that goes back to the fundamental origins of style, method, gold standard, or physical construct. The following concepts should be addressed: Monster- This is the person/ being/ object that strikes fear into the community, or is shrouded in mystery. Often misunderstood? (examples include: Grendel, the Loch Ness monster, Frankensteins monster, Dracula) Hero- the character willing to confront the monster or the unknown Setting- the place where the story takes place- how does this add to the story, and how is it like a character? Fear- What is the source of fear in the community that creates a monster? Examples of fear within the horror genre can stem from psychological horror, physical horror, fear of the unknown/ unnamed. Students will then add to the semantic map by identifying archetypes within the horror genre. Practice: Students will form groups of four. They will be asked to use their understanding of archetype and the horror genre to create a scene from a horror story. They may use whatever resources they have in the room: magazines to create a collage, markers to draw a scene. Students should address the archetypes discussed in class as a basis of their final work. Groups will be asked to share their visuals and explain how they incorporated the concepts of a horror genre Evaluation: Students evaluation will be based on participation in discussion, completion of semantic map, and participation in creating the visual. Group work will be based on addressing the themes discussed, and explaining them to the class.

Images used in Presentation:

Rate the following images on a scale of 1-5 based on how scary they are. 1 is about as scary as a ball of yarn. 5 is the stuff nightmares are made from. Justify each rating so we know why an image did or did not successfully frighten you.

Narrative Structure and Freytags Triangle

Introduction/ Purpose: Using the previous days lesson on horror, students will build upon this knowledge with an introduction to the narrative structure of Freytags triangle. Students, after being introduced to the narrative structure of story, will impose the theme of horror within the structure by following Freytags triangle to complete a story map in which words (monster, dark, bright, love, alone, creation, destruction, evil, good, kitten, popcorn, balloon, water gun, boot, shirt, axe, poison) and images (an old house, a night sky, a dark forest, ballet shoes, a fruit basket, and a dog) inside. Students will draw an image or word from their envelope at random and will use it to support the plot of their horror story. Using these images, students will construct a plotline based on their understanding of horror and Freytags triangle. Sunshine State Standards: La.e.2.4.1 - Student analyzes the effectiveness of complex elements of plot, such as setting, major events, problems, conflicts, and resolutions La.b.2.4.2- Student organizes information using appropriate systems. La.b.2.4.3- Student writes fluently for a variety of occasions, audiences, and purposes, making appropriate choices regarding style, tone, level of detail, and organization. Objectives: Students will recall previous days findings by applying them to the horror genre. Students will analyze the components of Freytags triangle and narrative structure. Students will synthesize the genre of horror and narrative plot structure by creating the plot of a horror story based on given information. Materials: Handouts with Freytags Triangle and story map, envelopes, words, images Preparation: Envelopes with slips of paper containing the words monster, dark, bright, love, alone, creation, destruction, evil, good, kitten, popcorn, balloon, water gun, boot, shirt, axe, and poison along with images of a night sky, a dark forest, ballet shoes, a fruit basket, and a dog will be distributed to each group. Presentation: In the beginning of class, the teacher will review the previous days lesson, drawing on the semantic web that the class collaboratively made, and ask for any new additions. After reviewing the purposes of yesterdays lesson, students will be introduced to Freytags triangle. The teacher will explain each component of the triangle, calling on student input as support. The common definitions for each stage of the triangle should read as follows: Beginning/Exposition- At this period of the storyline, characters are introduced, setting is revealed, and the stage is set. Rising Action- Here, we see the characters interact with the plot, which develops both character and plot. We begin to see the conflict in the story that creates momentum for the plot to move forward. This is where things get complicated. Climax- The climax of the story is the highest point of conflict or tension. Things, till this point have been building up till a final act determines the rest of the plot. Falling Action- Here, the story begins to wind down, and we see how the characters react to the climax, and how things settle. Resolution- The plots wind down, the characters accept a shift in their states.

Practice: Students will divide into groups of six. Each group gets an envelope with the words and images inside. Each student is responsible for a portion of the handout. (Exposition, Rising Action, Climax, Falling Action, Resolution) Each student will draw a prompt from the envelope and develop the story line in sequence with the rest of their group. Students will apply their understanding of plot structure and genre by creating the skeleton to their own story. The words and images provide suspense and surprise for students, who do not anticipate the next step of the plots story, much like the audience of a horror film. The prompts also encourage the students to adapt these words and images to fit not only in their role in the plot outline, but to fit the genre of horror. This requires collaboration and creativity on behalf of the students for a successful storyline. Students will share their stories with the other groups. (Perhaps a flashlight and a darkened room can serve as ambience for a ghost story setting.) Evaluation: Students will complete their individual handout, highlighting the part of the story they were responsible for. Successful assignments demonstrate an understanding of the parts of plot, and incorporate prompts to align with the horror genre. Day 2

Freytags Triangle describes the momentum of a narrative, like a film or a story. In the following activity, you will apply the pieces of Freytags Triangle to create your own story. You will fill out the following story map. This outlines the stages of a story that you will describe based on a given word. Feel free to get creative! The best stories often have unexpected twists, and should be fun to read and write! Directions: Each student in your group is responsible for a portion of the plot line. You may help each other and develop ideas. In the envelopes provided are a variety of images and words. You will choose one for each stage of your story. The words are not in any order, and it is up to you to use them in your plot. Have fun, and be prepared to share!

What you will turn in to me: Your individual handout, indicating which portion of the plot you were responsible for. You should take minor plot notes from your groups portions, too, so the plot is cohesive. Beginning: (Introduction, exposition, characters)

Complication: (What happens to make the plot move?)

Rising action: (How are characters reacting to this?)

Climax: (Moment of highest tension/action. Is there a twist?)

Falling Action: (How are the characters reacting to the climax?)

Resolution: (Wrapping up loose ends- how does it all end?)

Day 1- Semantic Web Directions: As we discuss the genre of horror, note important examples in these categories. These notes should help you explore the idea of fear, understand characters motivations, allow for cultural parallels and prepare you for observation and analysis of the film Edward Scissorhands. You will be graded for completion and class participation.

The Plight of the Monster

Horror is

Why are we scared?

Examples

Archetypes

Day 3

By Jennifer Conwell

Color Marking: An Introduction to Dichotomous Motifs in Horror Texts

Sunshine State StandardsLA.A.1.4.1 Student selects and uses prereading strategies that are appropriate to text, such as discussion, making predictions, brainstorming, generating questions, and previewing to anticipate content, purpose, and organization of a reading selection. LA.A.1.4.4 Student applies a variety of response strategies, including rereading, note taking, summarizing, outlining, writing a formal report and relation what is read to his or her own experiences and feelings. LA.E.1.4.3 Student identifies universal themes prevalent in the literature of all cultures. LA.E.1.4.5 Student understands the different stylistic, thematic and technical qualities present in the literature of different cultures and historical periods. Objectives: Students will apply new vocabulary concepts in context of unit. Students will distinguish between motifs in a text. Students will infer the symbolism of motifs in the content text. Students will synthesize vocabulary and genre to predict motifs in text. Materials: Copy of passage in Mary Shelleys Frankenstein, highlighters, copy of charts with discussion questions, Preparation: In preparation for the days discussion the teacher may bring in articles that have symbolic value in the collective mind. For example, the teacher could bring in a light bulb as a symbol of a good idea or a new understanding. Then the teacher will begin the days lesson on symbols, motifs and dichotomies as taught and understood through color marking as a strategy for effective reading. The teacher will generally explain the definitions of motifs, symbols and dichotomies and explain why they are recorded and observed in the study of a given text. The teacher will explain them as such: Motif- In literature, a reoccurring image, word or phrase, action, idea, objects or situation that appears in various works or throughout the same work. Within the genre, this motif refers to the theme and within the same work refers to repetition, which strengthens a feeling or impression that surrounds the text. Motif will function in both ways during these lessons. Symbol- broadly, it is anything that signifies or stands for something else. With this text, it will function as the impression or meaning behind the motifs. Dichotomy- refers to the division of two contradictory thoughts, ideas, or opinions into two equal categories. The teacher will introduce the first letter from Frankenstein and briefly explain that they will be using this text to understand the new vocabulary as well as see how it applies in horror as a particular genre.

Presentation: Then the teacher will explain color marking as a reading/comprehension strategy. He/she will distribute highlighters to the students and ask them to use their new understanding of motifs and dichotomies to mark in different colors any objects, words, phrases or ideas that are repeated throughout the text. The students will read the text individually marking any dichotomous motifs they perceive with the highlighters. Practice: In groups of three, the students will complete the chart Dichotomous Relationships in Letter 1 of Frankenstein in order to observe the use of juxtaposition and contrast in the creation and continuation of motifs in a piece of text. The students will also be required to find another dichotomous relationship in the letter and record the supposed importance of the symbols presented. The class will share findings and interpretations of symbols. The teacher will lead a discussion on the importance of motifs to follow or track themes in a text. Then as a bridge to a discussion on the following day in which Edward Scissorhands is introduced as the primary text for analysis, the groups will answer three questions and keep them for discussion. These questions serve to introduce important motifs in the monster myth in relationship to Frankenstein and to horror as a genre. The students will answer: 1.What can you infer about the importance of these relationships in the rest of the novel? 2. What, if any, connection can you make between these relationships and the horror genre, as previously discussed? 3. What other relationships might you expect from this genre? The questions will be finished for homework, if not finished in class. Evaluation: The days activities will be assessed based on student engagement during reading, the extent to which he/she completes the color marking and the collaboration with group to complete chart and questions.

Text for Color Marking from the first pages of Frankenstein by Mary Shelley

Dichotomous Relationships in Letter 1 of Frankenstein After you read, fill in this chart and find one new motif to discuss. Dichotomous Meaning of the symbol Dialogue associated Motifs with the symbol 1. Hot vs. Cold Cold- North, snow, frost, wind, icy, breeze, Hot- Sun, heat, passion, sweat State of his heart, representation of loneliness, region of searching

2. Day vs. Night

3. Ease vs. Difficulty

4. Civilized vs. __________

5.

Making Predictions: Anticipating a Genre With your group, discuss these questions and write the answers on the back of this sheet.

1. What can you infer about the importance of these relationships in the rest of the novel? 2. What, if any, connection can you make between these relationships and the horror genre, as previously discussed? 3. What other relationships might you expect from this genre?

Day 4

Use of Symbols/ Motifs in Myth: Introduction to Edward Scissorhands

Sunshine State Standards: LA.A.1.4.1 Student selects and uses prereading strategies that are appropriate to text, such as discussion, making predictions, brainstorming, generating questions, and previewing to anticipate content, purpose, and organization of a reading selection. LA.C.2.4.1 Student determines main concept and supporting details in order to analyze and evaluate nonprint media messages. LA.D.2.4.3 Student recognizes production elements that contribute to the effectiveness of a specific medium. Objectives: Students will motifs in horror genre. Students will infer prominent motifs in a film from brief trailer for film. Students will analyze motifs to predict future use in the film. Materials: Motif/symbol handout, trailer from Edward Scissorhands, semantic web on horror from days one and two. Preparation: Class will begin with a discussion of questions from previous day. The students will probably infer that the connection between good and evil, night and day, cold and hot as well as the others will be important in the rest of the novel and may predict man vs. machine, creator and destroyer or life vs. death will become important as can be seen in analysis of horror as a genre, and in the monster myth as a universal concept. Other relationships mentioned will be carried over into introduction to Edward Scissorhands, since most of the same motifs exist in the film as in Frankenstein. Presentation: Teacher will show the trailer from Edward Scissorhands that advertises the movie and will ask the students to identify dichotomous motifs found in analysis of horror as a genre as well as to brainstorm a list of other possible motifs based on the title. The teacher will explain the directors use of imagery to display motifs and ask the students to look for motifs, which may contain the following dichotomies: summer vs. winter, the use of color vs. black and white, man vs. machine, creator vs. creation and the image of hands vs. claws, etc. Once the students have brainstormed these dichotomies, they will use their prior knowledge of the genre and of the film to anticipate the way the director might employ these motifs in his film. Later, as the students view important scenes containing these symbols, the teacher will stop the film and discuss the uses. Practice: The teacher will hand out the Dichotomous Motifs log and ask the students to put their predictions on the sheet underneath the symbols in the left-hand column. The teacher will tell them to look for these symbols and motifs as they watch the film. The chart will essentially serve as a color marking activity for the viewing of the film in which students notice symbols as well as the relationship of the symbols. The completed chart will be discussed and evaluated after viewing the film. The students will be asked to look for other symbols or motifs not listed on the handout and list them on the back of the sheet. Assessment of chart will be completed after completion of film.

Dichotomous Symbols in Edward Scissorhands As you watch the film, fill in this chart. Use the back of this sheet to record any other motifs that reoccur in the film that lend to our understanding of the monster myth or of horror as a genre.

Dichotomous Motifs
Summer vs. Winter

Scene/Dialogue associated with the symbol

1. 2. 3.

Meaning of the symbol

Human vs. Machine

1. 2. 3.

Black/white vs. Color

1. 2. 3.

Private vs. Public

1. 2. 3.

Religious vs. Secular

1. 2. 3.

Creator vs. Creation

1. 2. 3.

Hands vs. claws

1. 2. 3. By Joanna Rainaldi

Day 5: Literary Elements through Film Narrative, Part One: The Literary Medium
Introduction: In the previous four lessons, students have been introduced to the narrative structure and symbols within the monster tale Edward Scissorhands within the film and literary horror genre. The lessons have been structured so that before the students begin day five, they will have viewed the movie in its entirety, using the handouts and instruction provided to them in the first four lessons as their focus. The next two lessons are designed for students to continue to view the film critically in preparation for transitioning into a unit on another text in the horror genre, Frankenstein. In these two lessons, students will use what they already know about reading a literary text to form initial responses to the film. Having watched the whole film through once, they will return to specific sequences and screen shots to break down their consumption of film narrative and to learn how to read the literary elements by analyzing how the elements are cinematically presented to them. Sunshine State Standards LA.A.1.4.3 Refines vocabulary for interpersonal, academic, and workplace situations, including figurative, idiomatic, and technical meanings. LA.B.2.4.1 Writes text, notes, outlines, comments, and observations that demonstrate comprehension and synthesis of content, processes, and experiences from a variety of media. LA.C.1.4.3 Uses effective strategies for informal and formal discussions, including listening actively and reflectively, connecting to and building on the ideas of a previous speaker, and respecting the viewpoints of others. LA.D.2.4.2 Understands the subtleties of literary devices and techniques in the comprehension and creation of communication. LA.D.2.4.5 Critically analyzes specific elements of mass media with regard to the extent to which they enhance or manipulate information. LA.E.1.4.1 Identifies the characteristics that distinguish literary forms. LA.E.2.4.1 Analyzes the effectiveness of complex elements of plot, such as setting, major events, problems, conflicts, and resolutions. LA.E.2.4.2 Understands the relationships between and among elements of literature, including characters, plot, setting, tone, point of view, and theme. Long Term Objectives Students will analyze the horror genre in print and film texts Students will compare different forms of the monster tale Students will apply critical thinking strategies to the viewing of a film Short Term Objectives Students will develop response statements to the whole film Students will identify literary elements as they are presented in film Students will analyze a film narrative for characterization, setting, point of view, tone and irony Materials: Edward Scissorhands, DVD player, handouts Procedure

The students will complete the first portion of the Response to Edward Scissorhands handout individually. They will share their response with a partner and several examples will be shared with the whole class. The teacher will review the definitions of the five literary elements as they have related to traditional texts used in the classroom. o Characterization: the method used by a writer to develop a character. o Setting: the time, the place, and the social environment that frames the characters; can be used to evoke a mood or atmosphere that will prepare the reader for what is to come. o Point of View: who tells us the story, (narrator) and how it is told. In literature, POV can be divided into two broad categories: first person POV and third person POV. In film, POV can be omniscient, restrictive, disengaged, or a mixture of them. o Tone: the author's attitude toward the subject matter, can be revealed through literary elements such as setting, dialogue, conflict, and plot. o Irony: the literary technique that involves surprising, interesting, or amusing contradictions. Verbal irony: when the writer or speaker says one thing but really means something different. Sarcasm usually fits this category. Situational Irony: when the character(s) and the audience expect one thing to happen and the opposite actually happens. Dramatic Irony: when the reader or audience knows something the character(s) does not know. With a partner, the students will complete the second portion of the Response to Edward Scissorhands handout, combining their responses to fill in the five categories in the literary element chart. The teacher will lead a whole class discussion, during which the students will share examples they recalled along with their personal responses to the examples. The students will view selected scenes that further illustrate each literary element, recording the description and developing a personal response on the third portion of the Response to Edward Scissorhands handout. o Characterization: show 22:53-23:15 o Setting: show 15:44-16:35 o Point of View: show 4:10-5:17 o Tone: show 31:25-36:46 o Irony: show 8:00-11:00 The teacher will lead a whole class discussion, during which the students will begin to describe how they believe the film leads them to be able to analyze the chosen scenes in terms of each chosen literary element (the technical vocabulary will follow in tomorrows lesson).

Evaluation: Students will receive an individual grade for the topicality of their written responses on the handout, as well as a participation grade for working cooperatively with a partner to complete the chart.

Day 6: Literary Elements through Film Narrative, Part Two: The Filmic Medium
Introduction: In yesterdays lesson, students used what they already knew about literary elements to further focus their responses to the film narrative. They viewed several segments and stills to illustrate examples of each literary element in Edward Scissorhands. The immediate purpose of todays lesson is to focus the attention of the students on the function of the literary elements in a film narrative specifically. In the final two lesson plans, the focus of the unit will again return to the study of Edward Scissorhands as a monster tale within the horror genre, creating a natural transition into the study of a more traditional text, Frankenstein. Sunshine State Standards LA.A.1.4.3 Refines vocabulary for interpersonal, academic, and workplace situations, including figurative, idiomatic, and technical meanings. LA.B.2.4.1 Writes text, notes, outlines, comments, and observations that demonstrate comprehension and synthesis of content, processes, and experiences from a variety of media. LA.C.1.4.3 Uses effective strategies for informal and formal discussions, including listening actively and reflectively, connecting to and building on the ideas of a previous speaker, and respecting the viewpoints of others. LA.D.2.4.3 Recognizes production elements that contribute to the effectiveness of a specific medium. LA.D.2.4.5 Critically analyzes specific elements of mass media with regard to the extent to which they enhance or manipulate information. Long Term Objectives Students will analyze the horror genre in print and film texts Students will compare different forms of the monster tale Students will apply reading strategies to the viewing of a film Short Term Objectives Students will identify cinematic techniques used in a film, including lighting, focus, framing, sound, camera angle, camera movement and editing Students will analyze a film for the function of the cinematic techniques used to develop the literary elements of the film narrative Students will evaluate the visual representation of the monster tale within the horror genre Materials: Edward Scissorhands, DVD player, paper to create rolled cameras, handouts Procedure The teacher will select examples from yesterdays lesson to review the literary elements and: characterization, plot, point of view, tone and irony. The teacher will introduce students to the technical vocabulary to be used in analyzing the cinematic techniques used in the film (definitions come from Appendix A of John Goldens Reading in the Dark). The teacher will do this using the rolled paper technique that Golden describes in his book (pp.1-25). o Framing/Shot o Focus

o Camera Angle o Sound o Camera Movement o Lighting o Editing The students will view the scene in which Edward first eats dinner with the family (24:2326:23). This scene was chosen for its ability to combine many of the literary elements. It is also a simple scene to which the students can begin to understand how to combine their analyses to include literary elements and cinematic technique. They will use the Scene Viewing Guide to watch the scene, and then evaluate their own responses as the teacher does a think aloud. The students will view two longer sequences of scenes that come at the beginning and end of the movie. They will independently fill out one Scene Viewing Guide for each sequence. o Peg Welcomes Edward into Her Home (17:53-22:52) o Edward Becomes Angry (1:11:10-1:13:35) With a partner, the students will answer the final question on the Scene Viewing Guide. Examples will be shared with the class in a whole class discussion.

Evaluation In order to demonstrate the ability to apply the function of cinematic techniques in developing literary elements, the students will select a scene from the movie to analyze for three of the six elements. In groups of three, they will write a three-paragraph scene guide (one element per paragraph) to present to the class. Each group member will receive an individual grade for his/her one-paragraph literary element analysis, as well as a group grade for the continuity of the scene analysis and the presentation.

Response to Edward Scissorhands

Now that you have watched Edward Scissorhands, think about your overall reaction to the film. Try to remember the specific moments that made an impression on you, confused you, made you have a strong feeling, or caused you to have some other reaction. What parts would you want to watch again? Did your awareness of motifs change the way you normally would have experienced the movie? Break your response down into these five literary element categories. For each category, choose one detail from the film that fits into that category and describe it. Then write a response to the detaildid it confuse you, excite you, make you sad, make you angry, etc.? Literary Elements Characters Description/Retelling Your Reaction

Setting

Point of View

Tone

Irony

Guided Viewing of Beginning Scenes from Edward Scissorhands

Literary Elements Characters (22:53-23:15) Description/Retelling
The CHURCH LADY watches from her window as the other women in the neighborhood rush over to Pegs house to find out about the mysterious guest. As in other scenes, she is frowning and seems to be planning something. This character seems like a small character, but in this story, no character is without significance. Here she is shown looking out her window, just like Edward was in the opening scene. We quickly identify her, according to dialogue and Pegs decision not to sell Avon cosmetics to her, as an outsider or reject. She, like Edward, looks in on the perfect neighborhood from their outside locations of kitschy living room and dark mansion. If we compare characters, we can understand why we might feel uneasy with the neighborhood ladies seeming to immediately accept Edward. We know that he is also an outsider, and we come to expect them to turn on him.

Your Response to It

Setting (15:44-16:35)

As Peg drives Edward home, he looks out the car window and observes the happenings of the suburban neighborhood. The homes are painted in various shades of pastel, and the citizens participate in outdoor activities such as cutting the lawn, talking in the driveway, playing on the slip and slide, and watering the flowers with a hose. The setting of the town is portrayed visually and through dialogue. Pay attention to how you feel about the neighborhood versus the mansion on the hill, as they are both important locations in the development of plot and symbolic meaning. Other important settings include: the shopping center, the bank, Jims house, the time period of the flashbacks, and the time period of the beginning scenes from when the story is told.

Point of View (4:10-5:17)

The story within the story begins with the old woman telling the little girl about the inventor who lived on the mountain and the man he created and left there after he died. As the old woman speaks, the audience sees the old mansion on top of the mountain out the window. Then we move over the snowy, sleepy, suburban town below the mountain, pausing on the old mansion again. Finally, we look out the window down on the town, over the shoulder of a man looking out the window. If we think in terms of traditional narrative, the point of view is third person limited. Because film applies point of view a little differently, we can understand that when we are looking up at the castle, we are in an omniscient narrative, and when we look over Edwards shoulder, we are in a restricted narrative. This distinction will come in useful later in the film when we are put in the position of Edward at the dinner table. The neighborhood ladies push their way onto Pegs doorstep, exclaiming that it is rude for her to keep her mysterious guest to herself. Peg tries to call Bill to the door to help ward off their self-invites to a BBQ Peg didnt even plan on having. They are later shown grouped together at the BBQ, still consumed with curiosity about Edward. Tone is the most subtle of literary elements presented in the movie. Why do we feel so uncomfortable in front of these women? They break the conventions of etiquette that Edward learned from the inventor. Their actions and words make Peg (up to this point, our narrative guide) feel uncomfortable. They always move in a large group of solid color. What is Tim Burton, or the old woman telling the story trying to tell us about these women? How do you feel about them?

Tone (31:25-36:46)

Irony (8:00- 11:00)

(As described in Golden text) As Peg becomes more and more dejected with not being able to sell cosmetics to her neighbors, she catches sight of the dark mansion in her rearview mirror. She figures she might as well try there too. After driving through the gates, she walks through the yard of the mansion. It is beautiful and delicately manicured. The sun shines down from the perfect blue sky. The scene is ironic if we understand the horror genre, which tells us that dark homes on top of mountains are indicators of rundown yards and evil homeowners. Ironically, Peg and the audience find a lovely garden within the gates, as well as a compassionately lovely man within the mansions shadows.

Technical Film Vocabulary

Framing/Shot: the image that is seen on-screen until it is replaced by another image through some type of editing technique; how the object will be positioned within the shot, or how much of the movie screen the object will occupy. o Long Shot o Close Shot o Medium Shot Focus o Soft Focus o Rack Focus o Deep Focus Camera Angle: where the camera will be placed in relation to the subject o Low Angle o High Angle o Eye Level o Dutch Angle Sound: the dialogue, music, sound effects, as well as pitch, timbre, direction, location on screen, etc. of the sounds included in the film o Diagetic Sound o Nondiagetic Sound o Internal Diagetic Sound Camera Movement: how and where the camera will move while recording a shot o Pan o Tilt o Zoom o Tracking/Dolly Shot Lighting: the role that light plays in creating a particular effect desired by a director o Low-Key Lighting o High-Key Lighting o Neutral Lighting o Bottom/Side Lighting o Front Lighting Editing: the methods by which a director chooses to move from one shot to another o Fade o Dissolve o Crosscut o Flashback/Flashforward o Eye-Line Match o Editing Rhythm and Duration

Scene Viewing Guide (Adapted from Goldens Film Viewing Notes)

Scene Title: Edward Eats Dinner with Pegs Family Scene Summary:

As you watch the scene, jot down significant observations for the following elements of the film: Theatrical Elements (costumes, props, sets, acting, etc.)

Literary Elements (characterization, setting, tone, point of view, irony, dialogue)

Cinematic Elements (framing, angles, editing, sound, lighting, focus, movement)

After Viewing: Look back over your notes and explain the intended effect of two of the cinematic elements you noticed. In other words, why did the director choose to use them? How do they relate to the literary events within the scene?

Scene Viewing Guide (Adapted from Goldens Film Viewing Notes)

Scene Title: Peg Welcomes Edward into Her Home Scene Summary:

As you watch the scene, jot down significant observations for the following elements of the film: Theatrical Elements (costumes, props, sets, acting, etc.)

Literary Elements (characterization, setting, tone, point of view, irony, dialogue)

Cinematic Elements (framing, angles, editing, sound, lighting, focus, movement)

After Viewing: Look back over your notes and explain the intended effect of two of the cinematic elements you noticed. In other words, why did the director choose to use them? How do they relate to the literary events within the scene?

Scene Viewing Guide (Adapted from Goldens Film Viewing Notes)

Scene Title: Edward Becomes Angry Scene Summary:

As you watch the scene, jot down significant observations for the following elements of the film: Theatrical Elements (costumes, props, sets, acting, etc.)

Literary Elements (characterization, setting, tone, point of view, irony, dialogue)

Cinematic Elements (framing, angles, editing, sound, lighting, focus, movement)

After Viewing: Look back over your notes and explain the intended effect of two of the cinematic elements you noticed. In other words, why did the director choose to use them? How do they relate to the literary events within the scene?

Answer these Questions with a Partner: In terms of the cinematic and literary elements, how are the two sequences similar/different? What has changed/stayed the same from the beginning to the end of the plot? How do the literary and cinematic elements tell you that? How do these scenes relate to the overall theme of Edward Scissorhands?

By Lauren Tripp Day Seven Making the Connection to Frankenstein: An Introduction to the Socratic Seminar Introduction/Purpose After completing the actual viewing of Edward Scissorhands, the students have now collected a wealth of information on the horror genre, the dichotomous motifs in the movie and in Frankenstein, the monster archetype as it relates to Edward Scissorhands, the visual sequencing of the movie, and the narrative structure of the movie through Freytags triangle. In the last two days of this unit, all these elements come together to allow students to effectively participate in a Socratic seminar to synthesize these elements and connect them with their next text, Frankenstein. Sunshine State Standards LA.A.1.4.4 applies a variety of response strategies, including rereading, note taking, summarizing, outlining, writing a formal report, and relating what is read to his or her own experiences and feelings. LA.B.2.4.1 writes text, notes, outlines, comments, and observations that demonstrate comprehension and synthesis of content, processes, and experiences from a variety of media. LA.C.1.4.3 uses effective strategies for informal and formal discussions, including listening actively and reflectively, connecting to and building on the ideas of a previous speaker, and respecting the viewpoints of others. LA.D.2.4.3 recognizes production elements that contribute to the effectiveness of a specific medium. LA.E.2.4.7 examines a literary selection from several critical perspectives. Objectives 1. Students will combine the elements learned in previous days lessons to create questions for the Socratic Seminar 2. Students will identify the narrative elements of Freytags triangle in regards to Edward Scissorhands 3. Students will identify the levels of questions for a Socratic Seminar as explained in attached handout 4. Students will create questions based on those levels Preparation These last two days are a wrap-up for all that has been discussed in the previous two weeks. As a result, students will be combining a variety of elements to get the big picture. The first element they will be required to review is the idea of Freytags triangle. Students will get out their handouts from Day Two and complete Freytags triangle with regards to Edward Scissorhands. Where was the rising action? Where was the climax? What was the resolution? Was it satisfactory? Did it give you that sense of relief? This will be a whole class activity. At this point, students will also be provided with a plot summary of Frankenstein as a prereading strategy, and also to enable them to make the connections necessary for the following questions.

Next, we will discuss the concept of a Socratic Seminar. What is it? What will we be discussing? These questions will be answered in lecture format. The following handout will be provided with the different types of questions we will expect to cover in our Socratic Seminar. Students will fill out the blank areas during group discussion. Type of Question Text Reader Other Literature Text/Reader Description Example Information found in the text Where does Peggy find (this means movie for us!) Edward at the beginning of the movie? Readers/Viewers How is your neighborhood experience, values or ideas similar/different to Peggys (That means you!) neighborhood? Knowledge of other How does Edward compare literature (In this case, to Dr. Frankensteins Frankenstein) monster? Combines knowledge of text How did your concept of a with readers values or ideas monster compare with Edward as the monster in the movie? Combines knowledge of text What symbols or motifs in with knowledge of other the movie connect with the literature (again, traditional monster genre Frankenstein) and Frankenstein in particular? Combines readers Should we as a society be experiences with knowledge allowed to create human of outside world/science beings as Edwards creator did? What other scientific advancements does this remind you of? Combines readers experiences with Frankenstein Combines knowledge of all three areas into one DENSE question

Text/Other Literature

Reader/World

Reader/Other Literature DENSE Text/Reader/World or Text/Reader/Other Literature

Three Areas

Text

Reader

World/Other Literature

Diagram and Chart taken from The English Teachers Companion, Jim Burke (p. 249) Practice Students will split into groups to create their own questions for the Socratic Seminar. Each group will create one question for each category, using their plot narrative models for assistance to make sure they cover all areas of Freytags triangle. Students should also include questions based on the visual sequencing, camera angles and motifs and symbols discussed earlier in the unit. Students should have their notes and handouts to help them write these questions. Evaluation Students will be evaluated on their individual Freytag Triangle models, as well as their group questions for the Socratic Seminar. Questions should fulfill the individual requirements of their categories, as well as the requirements of the parts of the unit covered earlier in the week.

Day Eight Making the Connection to Frankenstein The Socratic Seminar Introduction/Purpose Todays lesson will allow the students to state their own questions, as well as answer the questions of their peers. The format of the Socratic Seminar will be an Inside/Outside Circle. The students will be able to synthesize what they have learned about the types of questions that are expected in a Socratic Seminar with what they have learned about Edward Scissorhands and the monster/horror genre. This will prepare them for reading Frankenstein in full and their final project after that is completed, which is a research paper combining all these elements. Sunshine State Standards LA.B.2.4.1 writes text, notes, outlines, comments, and observations that demonstrate comprehension and synthesis of content, processes, and experiences from a variety of media. LA.C.1.4.3 uses effective strategies for informal and formal discussions, including listening actively and reflectively, connecting to and building on the ideas of a previous speaker, and respecting the viewpoints of others. LA.D.2.4.3 recognizes production elements that contribute to the effectiveness of a specific medium. LA.E.2.4.7 examines a literary selection from several critical perspectives. Objectives 1. Students will synthesize the types of questions required with their information from previous days to create Socratic Seminar questions 2. Students will draw on that same information to answer these questions in an Inside/Outside Circle format 3. Students will answer questions from all levels of questioning 4. Students will complete an evaluation form which gives feedback on the process of the seminar itself, as well as self-evaluate their own participation Preparation The teacher will organize the chairs into two concentric circles. The rules of the Socratic Seminar will be posted as follows (along with any agreed-upon additions from the class): 1. Come prepared, with your questions, notes and handouts from the rest of the unit. 2. Be courteous no put-downs, no sarcasm. 3. Allow each participant enough time to finish his/her thoughts. 4. Speak up if no one else is talking dont worry about raising your hand! 5. Be an active listener. 6. Take notes and be able to summarize the discussion when you are in the outside circle. Practice The students in the interior circle will speak first, answering half of the questions, at the teachers discretion. The exterior circle will take notes while the interior circle is speaking, and then the two

circles will switch. Students will be expected to stay on task. The teacher will act as a moderator if needed. When all questions have been discussed, or time runs out, the teacher will wrap up the discussion with a few summarizing questions. Students will be expected to complete the evaluation form below. Evaluation While students are speaking, the teacher will be evaluating them based on these criteria: 1. Students seek understanding in collaboration with others. 2. Students ask questions about the text. 3. Students refer to the text for support. 4. Students refer to the ideas or words of others. 5. Students make connections with text and/or between texts. Successful participants will incorporate all of these elements. Students will as well fill out an evaluation form that asks for feedback on the process of the seminar itself, as well as a selfevaluation based on the above criteria.