1. English II Honors/English II—May 4, 2016 Daily Warm-up: Arrange each of the following phrases in as many ways as possible. – He died. – He fell ill. – He had no friends or relatives. – For example: He had no friends or relatives. He fell ill. He died. Homework: – 1 st hour: Vocabulary Quiz Lesson 26 and 27 on Friday – 2 nd hour: Vocabulary Quiz Lesson 13 on Friday – Graphic Novel Book Report due May 20 th

2. English II Honors Lesson 26 Vocabulary Bigamy—n. the act of going through a marriage ceremony while already married to another person. Monolith—n. a large single upright block of stone, especially one shaped into or serving as a pillar or monument. Bicuspid—adj. having two cusps or points Monotheism—n. the doctrine or belief that there is only one God. Biennial—adj. taking place every other year. Monologue—n. a long speech by one actor in a play or movie Bilingual—adj. speaking two languages fluently. Monotony—n. lack of variety and interest; tedious repetition and routine. Bilateral—adj. having or relating to two sides; affecting both sides. Monogamy—n. the practice or state of being married to one person at a time.

3. English II Honors Lesson 27 Vocabulary Prestige—n. widespread respect and admiration felt for someone or something Stress—v. give particular emphasis or importance to (a point, statement, or idea) made in speech or writing Stricture—v. an abnormal narrowing of a bodily passage Constrict—v. make narrower, especially by encircling pressure Unrestrained—adj. not restrained or restricted Stringent—adj. (of regulations, requirements, or conditions) strict, precise, and exacting Distress—n. extreme anxiety, sorrow, or pain Constrain—v. severely restrict the scope, extent, or activity of Restraint—n. unemotional, dispassionate, or moderate behavior; self-control Straits—n. used in reference to a situation characterized by a specified degree of trouble or difficulty.

4. English II Lesson 13 Vocabulary Resilient- adj.- (of a substance or object) able to recoil or spring back into shape after bending, stretching, or being compressed. Sagacious- adj.- having or showing keen mental discernment and good judgment; shrewd. Equanimity- n.- mental calmness, composure, and evenness of temper, especially in a difficult situation. Fortitude-n.- courage in pain or adversity. Obscurity- n.- the state of being unknown, inconspicuous, or unimportant. Beguile- v.- charm or enchant (someone), sometimes in a deceptive way. Demure- adj.- (of a woman or her behavior) reserved, modest, and shy. Hidebound- adj.- unwilling or unable to change because of tradition or convention. Tumult- n.- a loud, confused noise, especially one caused by a large mass of people. Laud- v.- praise (a person or their achievements) highly, especially in a public context.

5. Documentary Film Elements Dialogue—spoken words of characters or participants in a film Narration—the act of telling a story Diegetic Sound—actual noises associated with shooting a scene Non-diegetic sound—voiceovers, commentary, music that does not come from the action on the screen Primary Footage—scenes shot by the director specifically for the film, including interviews or footage of the performer/filmmaker Archival Footage—scenes taken from other sources, such as news broadcasts or home video Still images—photographs as opposed to video footage Text—subtitles, labels, graphics, etc. to help support the video’s message

6. Questions to Ask During a Documentary Who is the director, and why are they telling this story? Who are the subjects within the film? What is the director leaving out and why? Does this film utilize both sides of the story to support their argument? What approach is the director taking (it’s generally a mix of techniques)?

7. SHOTS and FRAMING/CAMERA ANGLES All film shots, framing, and camera angles compare to how a writer uses point of view. Shot: a single piece of film uninterrupted by cuts. Of course, different shot types, angles and movements achieve different effects.

8. ESTABLISHING SHOT - Often a long shot or a series of shots that set the scene; it used to establish setting and to show transitions between locations. From the TV Show “Seinfeld”

9. LONG SHOT – a shot from some distance. If filming a person, the full body is shown. It may show the isolation or vulnerability of the character. From the movie “Titanic”

10. MEDIUM SHOT – The most common shot. The camera seems to be a medium distance from the object being filmed. A medium shot shows the person from the waist up. The effect is to ground the story. From the movie “Spiderman 3”

11. CLOSE UP – the image takes up at least 80 percent of the frame. Used to show emotion. From the movie “The Shining”

12. EXTREME CLOSE UP – the image being shot is a part of a whole, such as an eye or a hand.

13. TWO SHOT – a scene between two people shot exclusively from an angle that includes both characters more or less equally. It is used in scenes where the interaction between two characters is important. From the movie “Tangled”

14. EYE LEVEL – a shot taken from normal height; that is, the character’s eye level. Ninety to ninety-five percent of the shots seen are eye level, because it is the most natural angle. From the movie “Toy Story”

15. HIGH ANGLE – the camera is above the subject. This usually has the effect of making the subject look smaller than normal, giving him or her the appearance of being weak, powerless or trapped. From the movie “Psycho”

16. LOW ANGLE – the camera films subject from below. This usually has the effect of making the subject look larger than normal, and therefore strong, powerful, and threatening. From the movie “Alice in Wonderland”

17. CAMERA MOVEMENTS Compares to how a writer establishes setting, mood, or tone. Pan – a stationary camera moves from side to side on a horizontal axis Tilt – a stationary camera moves up or down along a vertical axis Zoom – a stationary camera where the lens moves to make an object seems to move closer or further away from the camera. *With this technique, moving into a character is often a personal or revealing movement, while moving away distances or separates the audience from the character. Dolly/Tracking – the camera is on a track that allows it to move with the action. The term also refers to any camera mounted on a car, truck, or helicopter. Boom/Crane – the camera is on a crane over the action. This is used to create overhead shots.

18. LIGHTING Compares to how a writer establishes tone and mood in their work. Lighting creates significant emotional responses from the audience based on what people associate with light and darkness Lighting effects clarity, realism, and emotion

19. HIGH KEY – the scene is flooded with light; creating a bright and open-looking scene From the movie “Shawshank Redemption”

20. LOW KEY – the scene is flooded with shadows and darkness, creating suspense and suspicion. From the movie “Insidious”

21. Bottom or Side Lighting – direct lighting from below or the side, which often makes the subject appear dangerous or evil. From the movie “The Blair Witch Project”

22. Front or Back Lighting – soft lighting on the actor’s face or from behind which gives the appearance of innocence or goodness, or a halo effect. From the movie “The Princess and the Frog”

23. Sound Compares to how a writer establishes tone and mood in their work. Diegetic – sound that can logically be heard by the characters in the film (dialogue, background noise, sound of things in the scene) Non-Diegetic – sound that cannot be heard by the characters but is designed for the audience reaction only (ominous music or sounds)

24. Editing Techniques Compares to how a writer uses syntax. Cut – two pieces of film are spliced together to “cut” to another image. Fade – can be to or from black and white; implies the passing of time or the end of a scene. – Fade-In – image gradually gets brighter – Fade-Out – image gradually gets darker Dissolve – a kind of fade in which one image is gradually replaced by another. Wipe – a new image wipes off the previous image (quicker than a dissolve). Flashback – cut or dissolve to action that happened in the past. Shot-Reverse-Shot – a shot of one subject, then another, then back to the first; often used for conversation or reaction shots. Cross-Cutting – cut into action that is happening simultaneously; creates tension or suspense and creates a connection between scenes. Eye-Line Match – cut to an object, then to a person; can reveal a character’s thoughts.

25. Subjective vs. Objective https://wikis.engrade.com/subjectiveandobjectivepo Subjective information is one person's opinion. In a newspaper, the editorial section is the place for subjectivity. It can be based on fact, but it is one person's interpretation of that fact. In this way, subjective information is also analytical. Objective information reviews many points of view. It is intended to be unbiased. News reporters are supposed to be objective and report the facts of an event. Encyclopedias and other reference materials provide objective information.

26. He fell ill. He had no friends or relatives. He died. Arrange the sentences as many ways as you can. How does the meaning change? He fell ill. He died. He had no friends or relatives. He fell ill. He had no friends or relatives. He died. He had no friends or relatives. He fell ill. He died. He had no friends or relatives. He died. He fell ill. He died. He fell ill. He had no friends or relatives. He died. He had no friends or relatives. He fell ill.

27. ObjectiveSubjective Objective information is… Observable: see, hear, touch, smell, taste Factual Able to be counted Able to be described Able to be imitated The same from multiple reporters As close to the truth as we can get Helpful in decision making Subjective information is… Opinion Judgement Assumption Belief Rumor Suspicion Varies: person-to-person, day-to-day Able to take on a life of its own Not the truth Sometimes completely false Destructive in decision making Objective language is… I saw I counted I observed This is what s/he did This is what I/we did S/he said Subjective language is… S/he did not want to S/he does not like S/he thought S/he feels S/he thinks S/he needs Subjective vs. Objective

28. The 11 th Hour

29. Deriving Meaning from Juxtaposition and Order

30. The Eleventh Hour: Opening Sequence http://freedocumentaries.org/documentary/the-11th-hour 1st Viewing: Note any images that jump out at you and what feelings you experience while you watch.

31. The Eleventh Hour: Opening Sequence http://freedocumentaries.org/documentary/the-11th-hour 2nd Viewing: Take note of each frame! I will pause it for you to keep track.

32. The Eleventh Hour: Opening Sequence http://freedocumentaries.org/documentary/the-11th-hour 3rd Viewing: What do you hear? Any specific sound effects?

33. Segment 1 (0:00-2:20) Which images are accompanied by sounds and the music used in this sequence? What tone is created in this montage? Why start the film with this sequence? What other images are powerful, disturbing, confusing, or manipulative? What does the meaning of the sequence as a whole seem to be? Does the sequence rely on logical or emotional appeals?

34. Your Assignment Create 3 unique images (they may be of any subject you like, except global warming) that convey very different meanings when rearranged. Then explain how the meaning changes in at least 2 arrangements. You may use phrases instead of drawings if you wish. How does juxtaposition affect meaning in a visual text? This arrangement suggests that the mom got angry, broke the Barbie doll, and the girl was upset. This arrangement suggests the Barbie doll broke, it made the girl upset, and the mom got angry. This arrangement suggests that the girl was upset, broke the Barbie doll, and the mom got angry.