Wednesday, March 27, 2013

March 27, 2013

Essential Question: What do we include in a style analysis essay?

I. Do Now (5 minutes): Complete the following analytical statement on this paper. Be prepared to explain your answers. What do you include in reflective commentary?

An explanation of the importance or relevance of your example supports your analysis.”

     Tim Burton, in The Corpse Bride, uses _____________________(cinematic element) in order to 


what purpose). For example _________________________________________

(Provide evidence from the text to support the topic sentence.)




II. Test Review (We will go over this) The test will consist of 25 multiple choice questions with two short reading passages that you will respond to, two writing prompts, and one completion of an analytical statement:

  1. camera angles and shots (Framing/ Angles)
  2. lighting, color, camera movement, music/sound, editing (cinematic elements/techniques)
  3. Tone/Mood may be represented by lighting and sound (Look at p.142)
  4. Style Devices/ Literary elements: tone, mood, diction, imagery, organization [foreshadowing, flashback, back story], syntax, dialogue (if it’s original) & point of view ( page 177).
  5. Film in Context: Authorial Study/ biography/autobiography
  6. Theme Statement ( central message of a literary work), thesis statement, topic sentence, controlling idea (p. 146)
  7. internal and external conflict (p.133)
  8. SIFT (p. 132)
  9. Third person limited and third person omniscient ( p.118-119)
  10. Verbal Irony ( p. 107)
  11. Story diagram: conflict, complications, climax, setting, resolution/denouement,
falling action, theme, characters, exposition [ events that give the reader background information needed to understand a story. During exposition, characters are introduced, setting is described, and the conflict begins to unfold.

  1. Conjunctive Adverbs/ Semi-Colon/ Compound Sentences
I will hand back the 5 sentences you completed in class yesterday. Return them to me when you co incorporate two compound sentences using a conjunctive adverb in your style analysis; I will grade these 5 sentences. In your final draft of your style analysis put these two sentences you have incorporated in it in bold type so that they are easily recognizable to me.

  1. Complete your Animal Farm storyboard for chapters 1-6.

  1. Continue work on your style analysis essay!

  • You will hand in all documents ( drafts that have been marked, and notes from your close readings of the films) with your final draft. Staple it together as a packet with the final draft on top.
  • Have a fellow classmate complete the rubric in response to your paper after they read it ( with your name and their name written clearly on it ).

VI. Read Animal Farm  (p. 59-89 )


Study for Thursday’s test

Finish your essay and put together all the “writing process” documents and staple together as directed.


Tuesday, March 26, 2013

March 26 Lesson, Finishing Unit 2, Mini Lesson: Grammar: Conjunctive Adverbs, & Animal Farm

Essential Question: What do we include in a style analysis essay?
I._____Do Now (6 minutes): You need your Springboard text for this. In creating your essays for the embedded assessment assignment you have to consider some of the similarities and differences between the three movies we have been examining. Complete the Venn diagram on page 178. You should focus on the three elements that you are focusing on in your essay.

II. ____Mini Lesson:Grammar(12 minutes): Conjunctive Adverbs

We have worked on compound sentences this year. A compound sentence joins two independent clauses. If you recall we have talked about transition words. A conjunctive adverb can be used in a number of places in a sentences, but, for today, we will practice how you use the conjunctive adverb after the semi-colon in a compound sentence

conjunctive adverb word bank
accordingly,    furthermore,    moreover,       similarly,
     also,           hence,          namely,         still,
     anyway,         however,        nevertheless,   then,
     besides,        incidentally,   next,           thereafter,
     certainly,      indeed,         nonetheless,    therefore,
     consequently,   instead,        now,            thus,
     finally,        likewise,       otherwise,      undoubtedly,
     further,        meanwhile.


1. Charlie Bucket’s home is in a dilapidated building with holes in the roof; similarly, Edward Scissorhands lives in a castle that is virtually in ruins.

2. Willy Wonka’s world is very different from Charlie Bucket’s; specifically, Wonka’s is filled with bright colors and Charlie’s is not.

3. The world of the living in The Corpse Bride is dark and sinister looking; however, the world of the dead is in bright colors. 

Create five statements about Tim Burton’s films in the form of compound sentences that use a conjunctive adverb. 

  • Go to your current essay draft and reconfigure two of your sentences using this form ( you can use sentences that you have just created for this assignment, if you like)! Highlight these sentences with bold type so that I can recognize them when I read the final draft of your essay). 

III. ____ Working in Pairs. Storyboarding Chapters 1-6 in Animal Farm. 

By the end of the exercise, students will be able to summarize the first six chapters of "Animal Farm".
Students should create six storyboard pictures. Each one should represent a chapter of the novel. All of the pictures should be in order. The characters (ie: Napoleon, Boxer, Squealer, Old Major, Mr. Pilkington ...) should be labeled.


Students will identify a quote from each chapter to go along with the pictures.
  • "Man is the only real enemy we have. Remove Man from the scene, and the root cause of hunger and overwork is abolished forever." - Major, Chapter 1.
  • "Nobody stole, nobody grumbled over his rations, the quarrelling and biting and jealousy which had been normal features of life in the old days had almost disappeared." - Chapter 3.
  • "I will work harder!" - Boxer's motto, Chapter 3.
  • "FOUR LEGS GOOD, TWO LEGS BAD." -Maxim devised by Snowball, Chapter 3.
  • "I have no wish to take life, not even human life," repeated Boxer, and his eyes were full of tears." - Chapter 4.

You should have read the first six chapters of the novel "Animal Farm". You must also revisit your understanding of personification.

Homework. 1. Start reviewing Unit 2 in your textbook. 2. Finish your style analysis  essay by Thursday’s class. I will be after school today until 3:30. Let me know whether you will stay after for help. 

*Many have not turned in your triple entry vocabulary or submitted your Animal Farm questions online?

Monday, March 25, 2013

March 25 Lesson

Name:_________________________________Class Period:___________________

Essential Questions: What are style devices, and what is their connection to cinematic techniques?

____I. Do Now (8 minutes): Using your notes, create in writing four statements that identify four different and specific style devices and how they are presented through specific cinematic techniques. To understand what is required for these four sentences read the following statements below and model your answers after them ( Do not copy them; come up with your own examples from the Burton films we have seen. There are other style devices and cinematic techniques that you can choose ):

Style Device: Tone---Cinematic Technique: Sound: 
In Charlie and the Chocolate Factory, the tone is surprisingly optimistic among the Buckets, who live in poverty. The tone of Grandpa George is sometimes pessimistic, and this is emphasized by the use of sound, or, rather, lack of sound, when all goes silent for Charlie, and the audience, when Charlie’s dad covers his ears as not to hear Grandpa George sounding off about others who cheat to get the golden ticket.

Style Device: Tone---Cinematic Technique:Music: 
In Charlie..., the lyrics to the music numbers performed by the Oompa Loopas also set the tone of character Willy’s opinion about the golden ticket winners’ greed and bad behavior; these lyrics are scolding in nature. The fact that song requires a particular syntax makes this also a  style device that works in conjunction with tone.

Style Device: Mood---Cinematic Technique Lighting:
Lighting, or lack of lighting, is used by Burton to present a bleak and depressing mood; the decrepit appearance of the Bucket’s home is heightened by the dark shadows within.

Style Device: Mood---Cinematic Technique: Color: 
Color presents the mood in Burton’s works. The bright, technicolor of Willy Wonka’s candy land contrasts with the gray and black of Charlie’s end of town and his home. 

Style Device: Diction---Cinematic Technique: Sound:
Edward is a man-child of few words; his few words emphasizes his disconnect with many of the other characters. He says little, but those that listen understand his goodness.

Style Device: Imagery---Cinematic Techniques: Color and Lighting:
The imagery of Edward’s castle home, Charlie’s home and the land of the living in The Corpse Bride is rooted in old horror movies. Burton’s use of grays and dark shadows emphasize the grotesque nature of the characters and the depressing setting.

_____II. Outlining Your Style Analysis Essay  
        The work of film director Tim Burton has become recognizable to many movie goers. Charlie and the Chocolate Factory, Edward Scissorhands and The Corpse Bride bare the stamp of Burton’s style which is exaggeratedly eerie and disturbing, It often has friendly monsters  and magical circumstances in addition to often grotesque characters. Tim Burton achieves a stylized mood, tone, imagery and point of view in Charlie and the Chocolate Factory, Edward Scissorhands and The Corpse Bride through the use of a variety of well-chosen cinematic techniques.

The bold type above identifies a thesis statement in this model introductory paragraph. In addition to a thesis statement you also have to introduce your subject matter. Look over the other sentences in this paragraph. What could you include in your introductory paragraph.

Outline: Fill this in. Read page 179-180 in Springboard
Thesis Statement: __________________________________________________

First Body Paragraph (Topic Sentence and 3 or more other sentences)
A Topic Sentence ( It is best to put this in the form of a question and then answer that question in three sentences or more. Since you are writing about three or more style devices in three Burton movies you will need at least three sentences in addition to your topic sentence. __________________________________________________

Second Body Paragraph (Topic Sentence and 3 or more other sentences):

Third Body Paragraph (Topic Sentence and 3 or more other sentences):

Concluding Paragraph (4 or more sentences) (  Create a statement that sums up Tim Burton’s style then detail in a summarizing statements the content of your three body paragraphs in at east three sentences (Read Springboard page 180). 

______III. Revise your essay. Exchange your essay with a partner. Complete the rubric provided during Thurs./Fri.’s class. Staple this draft and rubric to the other materials that have been part of the “writing process” for this style analysis essay.

Homework ( Watch Big Fish on your own, if you desire). 
  • If you haven’t, you need to do the Animal Farm questions on the website by clicking “comment” at the end of March 22’s entry and typing your answers there.
  • Revise your essay based on today’s completion of the essay. Essay due at the beginning of Thurs./Fri. class ( 10 points off, if not completed by this time)Review pages 181-183 and make sure your essay followings these steps and meets the requirements of the rubric.   

Thursday, March 21, 2013

March 21/22, 2013 Block Days, Tim Burton's The Corpse Bride

Essential Question: What are style devices, and how are they achieved with cinematic techniques?

1. Do Now: Quiz ( 8 minutes )
Using any notes that you have, explain in writing the following style devices in Tim Burton’s Edward Scissorhands and how these are achieved, specifically, with cinematic techniques ( that you also identify):

a. Imagery 
b. Point of View
c. Organization
d. Tone

2. We will watch the last minutes of Edward Scissorhands for those classes (3. 5 & 6) that did not get to finish it yesterday.

  • Take notes below today’s quiz. 
  • Use a two column graphic organizer, as we have used recently, with a column entitled “style device” and another entitled “cinematic technique”. You will write the specifics of both.
3. Draw a line below your last entry, as we will continue this exercise with  Tim Burton’s The Corpse Bride (35 minutes).

4. Whole Group: Review the specifics of the embedded assessment #2 assignment and rubric on pages 181-183 (5 minutes). 

a. Rough Draft Revisions. You will be handed back your recently completed rough draft and other assignments related to this Unit.

b. Please staple together the graded rough draft and all “notes” and other materials that are “Evidence of the Writing Process” defined in the rubric for this assessment.

5. Peer Review (14 minutes/14 minutes): With the use of your laptop in class, revise your rough draft.

  • Proof read it.

  • Have a partner in class read your essay and evaluate it using the rubric on page 182-183.

  • In response to your partner’s essay, score it using the rubric provided. Put your name on this rubric and the name of the person you are scoring. Write a score in each box provided. Identify one point in writing that justifies, in your thinking, this score. Give this to the person whose essay you have scored. 

  • Staple this “peer review” to your packet of papers. Use this “peer review” to revise your essay. 

6. Exit Ticket (4 minutes): Rate your progress on your essay. Tell what you don’t understand, do understand, or agree or disagree with in the responses to your essay?


Animal Farm: Everyone should have read to the end of chapter four by this point.

Read Chapter 5 & 6 for Monday. 

Also, for Monday, answer the following questions and create triple entry vocabulary for the words below ( make sure that you do all three columns: the page number for the words for the purpose of “Words in context” are in parenthesis.

****For the questions, visit: Under the posting for today, “March 21/22, 2013, Block Days”, click the “Comment” and Post your responses to the question. That way everyone  can see the responses to these questions. Hand in the triple entry vocabulary on paper in class on Monday.

  1. Describe the pigs as they have come to be on the Jones Farm.
  2. What is the significance of “Beasts of England”. What could you compare this with in our own real world? How might this and its real equivalent be used in a bad way? 
  3. Moses is a raven on the Jones Farm. What does he do? Research “Rasputin” online. Who was he and how does this real person connect to the raven Moses?

  1. ensconced (4)
  2. benevolent (4)
  3. tyranny/tyrannize (9)
  4. infancy (11)
  5. eminent (11)
  6. toiled (27)
  7. shirk (30)
  8. indefatigable (32)
  9. vengeance (42)
  10. menacing (54)

Wednesday, March 20, 2013

March 19 Snow Day, March 20, 2013 Lesson, Finishing Edward Scissorhands

Check each as you complete it.

Essential Question: What are style devices, and what are cinematic techniques?

I._______Do Now (8 minutes): 
  • Go to page 172. 
  • Answer questions 1-3. 
  • Also, complete the analytical statement on page 173 in your Springboard text.  
  • Finally, get a piece of dot-matrix paper. Put your name on it. We will use this for Number II & III of today’s learning map.

II. _____( 12 minutes) The following will be important to consider in moving forward with work on Embedded  Assessment for Unit 2. Be attentive to the fact that the following style devices are different than cinematic techniques; in fact, cinematic techniques are responsible for helping to realize a particular style device.

_____Look and listen to the following definitions of style devices being read. 

a. Tone: The director’s, in this case, attitude toward a subject, character, or audience; it is conveyed through their choice of words and detail.
b. Mood: The atmosphere or predominant emotion in a literary or cinematic work.
c. Diction: Word choice intended to convey a certain effect.
d. Imagery: The descriptive words or phrases a writer uses to represent persons, objects, actions, feelings, and ideas by appealing to the senses.
_____________________________________________________________________ee. Organization: The narrative structure of a piece---how a text begins and ends, is sequenced, paced, or arranged. 
f. Syntax: The arrangement of words and the order of grammatical elements in a sequence.
g. Point of View: The perspective from which a narrative is told.

______Think-Pair-Share: Come up with one example of each of the above from our recent “readings” of Edward Scissorhands or Charlie and the Chocolate Factory. Write these down (each student will do this on their own paper), as you might use them eventually in your embedded assessment essay ( on dot matrix paper ). We will share them as a whole group.

III. ______(25 minutes) Close Reading Edward Scissorhands. We will watch the last 25 minutes of the movie. 
  • _____On a piece of dot matrix paper, draw two vertical lines down the middle of the paper. You will have three columns for information. 
  • _____Label the first column “Style Device”, the second “How it is accomplished with a cinematic technique and what that technique is?”, and label the third column “Intended Effect”. 
  • _____Subsequently, you will identify an example of the above style devices being used in Edward Scissorhands and explain how it is accomplished with the specifics of one of the following cinematic techniques:

  1. Framing/Angles
  2. Lighting
  3. Camera Movement
  4. Music/Sound
  5. Editing ( These would be things in the movie that would need to be created or perfected after real-time filming; for example, Mike Teavee floating above the launch pad of the Television Chocolate machine).

IV. _____(5 minutes) Exit Ticket: Rate your understanding of style devices and cinematic techniques. We will have a quiz on these tomorrow.

Homework: Quiz on today’s lesson on Wednesday. Using today’s in-class exercise, that you should tweak a bit when you have more time after class, do the following writing prompt. Staple the “Notes/Graphic Organizer” you completed in class or after class to this writing prompt and turn it in on Wednesday. 

Writing Prompt:

Write a well-developed paragraph analyzing Burton’s use of a cinematic element in Edward Scissorhands. Include all the features that you have practiced, including analytical statements (page 167 and 173) with textual support, reflective commentary, and closure.

commentary (found on page 167): Your explanation of the importance or relevance of your example and the way your example supports your analysis.

Monday, March 18, 2013

March 18, 2013 Lesson, Written Text versus Film, Where does Roald Dahl end and Tim Burton Begin?

Essential Question: What are some of the particulars of Tim Burton’s style, and how are these exemplified in his use of cinematic techniques?

I. _______Do Now (6 minutes): Go to page 167 in your Springboard text. Copy the statement and  complete it. This is further practice of writing topic sentences and what is to follow it in a body paragraph. Draw from the movie Edward Scissorhands for the content of these topic sentences.  

II. ______(10 minutes---Read)In-class Compare and Contrast:

     One of the things that has been revealed in the first round of written drafts for our style analysis of Tim Burton’s work is some confusion about what exactly is Burton's work and what comes directly out of the original children’s novel Charlie and the Chocolate Factory by Roald Dahl. Burton is actually very true to the original story in his film adaptation, but it is his use of camera shots, angles and movement, costume, sound/music choices, color, editing and lighting that are Burton’s own. It is this that make up the style of Tim Burton. It is his particular use of cinematic techniques that constitute his style. 
      For those who are Burton fans, you might know that the movies: Beetle Juice, The Corpse Bride, Edward Scissorhands, The Big Fish, and Charlie and the Chocolate Factory , among others, share something in common. These movies have a typically Burtonesque look and feeling to them which is often characterized as eerie, creepy and having a quality that is much like the old horror movies starring Boris Karloff, Lon Chaney, Jr. (and Sr. too), Vincent Price and Bela Lugosi, among others. Burton uses references, or the actual iconic stars of these classic movies in his own when possible ( we have mentioned the fact that Burton's film Ed Wood includes a sub-story about Bela Lugosi's last film which Wood directed; Martin Landau plays Lugosi in the Burton's film. Vincent Price appears in Edward Scissorhands. Christopher Lee, who played Dracula or other monsters in countless 1960s "B" movies is in Burton's Charlie and the Chocolate Factory. These are just a few instances of tapping into horror nostalgia) To put it into simple terms Burton is a lover of vintage, horror movies drawing from them for the purpose of his own movies.
      It is his choice of sounds and music that identify the Burton style in the two movies we have seen recently. It is his use of particular camera shots in order to emphasize that is part of his distinguishable style. It is his use of light, or lack there of, in individual scenes that have become, like all directors, his bag of tricks. It is how characters look and act that is also one of the things that Tim Burton is attentive to.
      The following are two chapters from Dahl’s Charlie and the Chocolate Factory. Listen as it is read and visualize it. We will then see the equivalent scene in Burton’s movie. Foremost, consider how the two are different? What does Burton do with the story, and how does he present it? 

Read the following from Roald Dahl’s novel Chapter 26 & 27) . Then we will look at theTim Burton’s cinematic dramatization of it.  

III. _____Chapter 26/ The Television-Chocolate Room

       The Teavee Family, together with Charlie and Grandpa Joe, stepped out of the elevator into a room so dazzlingly bright and dazzlingly white that they screwed up their eyes in pain and stopped walking. Mr. Wonka handed each of them a pair of dark glasses and said, “Put these on quick! And don’t take them off in here whatever you do! This light could blind you!” 
      As soon as Charlie had his dark glasses on, he was able to look around him in comfort. He saw a long narrow room. The room was painted white all over. Even the floor was white, and there wasn’t a speck of dust anywhere. From the ceiling, huge lamps hung down and bathed the room in a brilliant blue-white light. The room was completely bare except at the far ends. At one of these ends there was an enormous camera on wheels, and a whole army of Oompa-Loompas was clustering around it, oiling its joints and adjusting its knobs and polishing its great glass lens. The Oompa-Loompas were all dressed in the most extraordinary way. They were wearing bright-red space suits, complete with helmets and goggles---at least they looked like space suits---and they were working in complete silence. Watching them, Charlie experienced a queer sense of danger. There was something dangerous about this whole business, and the Oompa-Loompas knew it. There was no chattering or singing among them here, and they moved about over the huge black camera slowly and carefully in their scarlet space suits.
       At the other end of the room, about fifty paces away from the camera, a single Oompa-Loompa (also wearing a space suit) was sitting at a black table gazing at the screen of a very large television set. 
      “Here we go!” cried Mr. Wonka, hopping up and down with excitement. “This is the Testing Room for my very latest and greatest invention---Television Chocolate!”
      “But what is Television Chocolate?” asked Mike Teavee.
      “Good heavens, child, stop interrupting me!” said Mr. Wonka. “It works by television. I don’t like television myself. I suppose it’s all right in small doses, but children never seem to be able to take it in small doses. They want to sit there all day long staring and staring at the screen...”.
      “That’s me” said Mike Teavee.
      “Shut up!” said Mr. Teavee.
      “Thank you,” said Mr. Wonka. “I shall now tell you how this amazing television set of mine works. But first of all, do you know how ordinary television works? It is very simple. At one end, where the picture is being taken, you have a large movie camera and you start photographing something. The photographs are then split up into millions of tiny little pieces which are so small that you can’t see them, and these little pieces are shot out into the sky by electricity. In the sky, they go whizzing around all over the place until suddenly they hit the antenna on the roof of somebody’s house. They then go flashing down the wire that leads right into the back of the television set, and in there  they get jiggled and joggled around until at last every single one of those millions of tiny pieces is fitted back into its right place (just like a jigsaw puzzle) and presto!---the photograph appears on the screen....” 
      “That isn’t exactly how it works,” Mike Teavee said. 
      “I am a little deaf in my left ear,” Mr. Wonka said. “You must forgive me if I don’t hear anything you say.” 
      “I said, that isn’t exactly how it works!” shouted Mike Teavee.
      “ You’re a nice boy,” Mr. Wonka said, “but you talk too much. Now then! The very first time I saw ordinary television working. I was struck by a tremendous idea. ‘Look here!’ I shouted, ‘If these people can break up a photograph into millions of pieces and send the pieces whizzing through the air and then put them together again at the other end, why can’t I send a real bar of chocolate whizzing through the air in tiny pieces and then put the pieces together at the other end, all ready to be eaten?”
      “Impossible!” said Mike Teavee.
      “ You think so?” cried Mr. Wonka. “Well, watch this! I shall now send a bar of my very best chocolate from one end of this room to other---by television! Get ready, there! Bring in the chocolate!
      Immediately, six Oompa-Loompas marched forward carrying on their shoulders the most enormous bar of chocolate Charlie had ever seen. It was about the size of the mattress he slept on at home.
      “It has to be big,” Mr. Wonka explained, “because whenever you send something by television, it always comes out much smaller than it was when it went in . Even with ordinary television, when you photograph a big man, he never comes out on your screen any taller than a pencil, does he? Here we go then! Get ready! No, no! Stop! Hold everything! You there! Mike Teavee! Stand Back! You’re too close to the camera! There are dangerous rays coming out of that thing! They could break you up into [a] million tiny pieces in one second! That’s why the Oompa-Loompas are wearing space suits! The suits protect them! All right! That’s better! Now, then! Switch on!”
        One of the Oompa-Loompas caught hold of a large switch and pulled it down. 
       There was a blinding flash.
       “The chocolate’s gone! shouted Grandpa Joe, waving his arms.
       He was quite right! The whole enormous bar of chocolate had disappeared completely into thin air!
       “It’s on its way!” cried Mr. Wonka. “It is now rushing through the air above our heads in a million tiny pieces. Quick! Come over here!” He dashed over to the other end of the room where the large television set was standing, and the others followed him. “Watch the screen!” he cried. “Here it comes! Look!”
      The screen flickered and lit up. Then suddenly, a small bar of chocolate appeared in the middle of the screen.
      “Take it!” shouted Mr. Wonka, growing more and more excited.
      “How can you take it?” asked Mike Teavee, laughing.
      “It’s just a picture on a television screen!”
      “Charlie Bucket!” cried Mr. Wonka. “You take it! Reach out and grab it!”
      Charlie put out his hand and touched the screen, and suddenly, miraculously, the bar of chocolate came away in his fingers. He was so surprised he nearly dropped it.
      “Eat it!” shouted Mr. Wonka. “Go on and eat it!” It’ll be delicious! It’s the same bar! It’s gotten smaller on the journey, that’s all!”
      “It’s absolutely fantastic!” gasped Grandpa Joe. “It’s’’s a miracle!”
      “Just imagine,” cried Mr. Wonka, “when I start using this across the’ll be sitting at home watching television and suddenly a commercial will flash onto the screen and a voice will say, ‘EAT WONKA’S CHOCOLATES! THEY’RE THE BEST IN THE WORLD! IF YOU DON’T BELIEVE US, TRY ONE FOR YOURSELF---NOW!‘ And you simply reach out and take one! How about that , eh?” 
      “Terrific!” Cried Grandpa Joe. “It will change the world!”
IV. Watch the scene in Charlie and the Chocolate Factory (12 minutes). Identify some of the particulars of the film that you deem to be Burton’s own unique treatment of the subject. Focus solely on the use of the following cinematic techniques. Identify briefly one specific example of each.

Camera Movement:

(15 minutes)Think-Pair-Share: Consider what you have learned from experiencing the Dahl written text and the Burton film text side-by-side. Make a written statement below your do-now about one of the cinematic techniques you have characterized above and what you now understand about Burton’s style. Explain in writing the specifics of that cinematic technique. 

For example: 
       Although Roald Dahl does mention the specifics of lighting in this scene where a chocolate bar is transported by television, Burton approaches lighting true to his style. The space where this scene takes place is completely white unlike Dahl’s to include a white camera and white furniture and the equipment necessary for TV transport. Only the knobs of the Chocolate Television machine are red. Red is used earlier in the movie to contrast the world of Wonka from the city that Charlie Bucket lives in. The brightness of the room can be equated with being space age, fantastical, like everything in Wonka's world. 
       Dahl has the Oompa-Loompa’s wearing red space suits, but Burton chooses them to coordinate with the white identity of this particular room and Wonka machine with white jump suits. The space theme of this particular scene is further heightened with allusions to cinema history’s 2001: Space Odyssey. Das Spake Zarathustra, the theme song to Odyssey is played when the powers of Chocolate Television are revealed. 
       When the machine is finally switched on a ray of light, like a laser, transports a larger-than-life chocolate bar from point A to point B. The chocolate bar then appears in the midst of dancing chimpanzees on the television screen, and this is taken directly from Odyssey. The bar is likened to the extraterrestrial “anomaly” in the Stanley Kubrick's film that supposedly brings intelligence to the early primates. So too, Wonka's Chocolate Television, brings evidence that miracles are abundant in the Wonka factory.


V. (5 minutes)Exit Ticket/ What did you learn today?

Homework: Do Activity 2.25 (pages 168-171). Do the storyboard and reflection questions on a separate piece of paper. We will discuss in class. 
Honors Challenge ( others can do this as well): make a suitable-for-presentation version of this Activity storyboard on six dot-matrix size pieces of paper. Caption each panel with a description of music/sound, dialogue, framing and lighting as required in the activity in the book. Color welcome when appropriate, as this is Tim Burton.