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Sug­gested Ac­tivi­ties for Fea­ture Films

 

Ac­tivi­ty

Form

Sui­ta­ble Sce­nes

Func­tion

re­pro­du­cing

Part­ner view­ing

(si­lent movie / sound off / non-ver­bal se­quence; one part­ner wat­ches, the other turns round)

  • Part­ners take it in turns to sum­ma­ri­se sce­nes for each other / gi­ving run­ning com­men­ta­ries
  • sce­nes with a fair amount of ac­tion but litt­le dia­lo­gue
  • (de­scrip­ti­ve)
  • view­ing skills
  • com­mu­ni­ca­ti­ve skills
Ob­ser­ve clo­se­ly
  • Watch a scene and then an­s­wer ques­ti­on­nai­re.
  • short sce­nes es­ta­blis­hing set­ting
  • trai­ning view­ing skills

Dub­bing

  • Form groups in which the num­ber of mem­bers cor­re­sponds with the num­ber of cha­rac­ters in scene
  • Each mem­ber of a group takes on the part of one cha­rac­ter and lis­tens ca­re­ful­ly to what s/he says
  • With the sound tur­ned down each mem­ber speaks his/her part in the group
  • sce­nes con­tai­ning dia­lo­gue con­sis­ting of sim­ple and short ut­ter­an­ces
  • Lis­ten­ing (+view­ing) skills
  • Me­mo­ry tech­ni­ques
  • Vo­ca­bu­la­ry prac­tice
  • pro­nun­cia­ti­on, in­to­na­ti­on / in­flec­tion 

in­ter­pre­ting

Si­lent view­ing

(scene shown wi­thout sound)

  • Spe­cu­la­te on dia­lo­gue. / Say in sim­ple and plain Eng­lish what the cha­rac­ters try to say.
  • dia­lo­gues in which fa­ci­al ex­pres­si­on and ge­stu­res are ea­si­ly de­co­ded.
  • spe­cu­la­ting, em­pa­thy
  • in­fer­ring spee­ches from fa­ci­al ex­pres­si­on and ge­stu­res

ana­ly­sing

Di­rec­tors in­ten­ti­on

  • Use a works­heet spe­ci­fy­ing va­rious ca­me­ra angles and edit­ing tech­ni­ques.
  • Watch a scene and de­scri­be what ef­fects these tech­ni­ques can pro­du­ce, e.g. sus­pen­se, shock, comic re­li­ef, ti­til­la­ti­on, an­ti­ci­pa­ti­on, fo­re­bo­ding, re­vul­si­on, de­si­re, anger, fear, con­tent­ment, in­di­gna­ti­on, sus­pi­ci­on sur­pri­se etc.
  • very short sce­nes in which light­ing, ca­me­ra angles and edit­ing tech­ni­ques are used to good ef­fect
  • iden­ti­fy­ing tech­ni­ques spe­ci­fic to the me­di­um of film
  • view­ing skills
  • ana­ly­sing the way films work

Free­ze frames

  • (press pause but­ton at key mo­ments) Com­ment on / ex­plain what body lan­gua­ge ex­pres­ses in this si­tua­ti­on.
  • sce­nes in which ac­tions, not words, do­mi­na­te.
  • view­ing skills
  • em­pa­thy
  • com­mu­ni­ca­ting

par­ti­ci­pa­ting

An­ti­ci­pa­ting

  • What ad­vice would you give to the cha­rac­ter in the given si­tua­ti­on?
  • Watch scene; com­ment on cha­rac­ter’s be­ha­viour; dis­cuss pos­si­ble out­co­me.
  • sce­nes in which the cha­rac­ter(s) do not do as ex­pec­ted.
  • em­pa­thy
  • coun­sel­ling

Role play

  • Each mem­ber of a group take the part of a cha­rac­ter in the film and act out a scene not shown in the film (= gap-fil­ling ac­tivi­ty)
  • se­quen­ces which con­tain ob­vious gaps
  • com­mu­ni­ca­ti­on skills

eva­lua­ting

Post-view­ing

  • Write a text ad­ver­ti­sing the film.
  • Write a re­view for your local paper.

 

  • for­mal wri­ting skills
  • crea­ti­ve wri­ting skills
  1. All ac­tivi­ties can be fol­lo­wed up with in­ter­views, Hot Seat, de­ba­tes and writ­ten tasks for ho­me­work. e.g. crea­ti­ve wri­ting in the form of diary ent­ries, let­ters [of com­plaint], pro­files, news­pa­per re­ports, “kiss-and-tell”, obitua­ry, me­moirs, wan­ted pos­ter, po­li­ce re­ports, eye-wit­ness re­port, spee­ches by at­tor­neys for the de­fence / pro­se­cu­ti­on, extra sce­nes, etc.
  2. “Peop­le lis­ten with two eyes and one ear” as the late Alis­ta­ir Cooke put it. With view­ing films, the vi­su­al si­gnal is cle­ar­ly the do­mi­nant and much more me­mo­r­able one. The­re­fo­re, view­ing, not lis­ten­ing, should be con­cen­tra­ted on.

 

Sug­gested Ac­tivi­ties for Fea­ture Films: Her­un­ter­la­den [doc] [52 KB]