Film Studies Curriculum 2012-2013

Rumson-Fair Haven Regional High School
Film Studies Curriculum

Staff Writers:
Supervisor:
Approved:
Film Studies Instructional Team

Jack Shea
9/18/12
Section I: Course Description

Film Studies is an elective that provides students with a basic foundation in genre fundamentals and a
critical awareness of film as a textual medium of aesthetic, cultural and ideological expression, reinforcing
the personal literacy skills needed for the 21st Century. Emphasis is placed on the
acquirement/development of the literacy capacities and higher-order thinking skills needed for college and
career readiness according to the Common Core State Standards in English Language Arts.
Section II: Common Core State Standards in English Language Arts
The College and Career Readiness Anchor Standards of the Common Core State Standards in English
Language Arts are complemented by grade-specific content standards in two specific groupings for Grades
9-12: Grades 9 and 10; Grades 11 and 12. The anchor standards and grade-specific standards are
necessary complementsthe former providing broad standards, the latter providing additional specificity
that together define the skills and understandings that all students must demonstrate. There are four
foci in the College and Career Readiness Anchor Standards of the Common Core State Standards in
English Language Arts: Reading; Writing; Speaking and Listening; Language. Since Film Studies is an
elective, The Film Studies Instructional Team will utilize the anchor standards in Film Studies, tailoring
instruction to ensure collective success.
Section III: Students Who are College and Career Ready in Reading, Writing, Speaking, Listening
and Language Usage
The Common Core State Standards in English Language Arts are aligned with a culminating portrait of a
student who is college and career ready in the 21 st Century. Film Studies supports the evolution of this
portrait.
College and career ready students in the 21st Century:
Demonstrate independence;
Build strong content knowledge;
Respond to the varying demands of audience, task, purpose, and discipline;
Comprehend as well as critique;
Value evidence;
Use technology and digital media strategically and capably;
Come to understand other perspectives and cultures.
Section IV: Higher-Order Critical Thinking Skills, 21 st Century Life and Career Skills and
Technological Proficiency
Students in Film Studies will establish a critical awareness of film as a textual medium of aesthetic,
cultural and ideological expression, reinforcing the personal literacy skills needed for the 21st Century
and developing of the higher-order thinking skills detailed in Blooms Revised Taxonomy of Cognitive
Objectives.
This effort will support the development of the skills referenced in Standard 9.1 (21st Century Life and
Career Skills) of the 2009 NJCCCS: All students will demonstrate the creative, critical thinking,
collaboration, and problem-solving skills needed to function successfully as both global citizens and
workers in diverse ethnic and organizational cultures.
Film Studies also demonstrates alignment with Standard 8.1 (Educational Technology) of the 2009 2009
NJCCCS [All students will use digital tools to access, manage, evaluate, and synthesize information in
order to solve problems individually and collaboratively and to create and communicate knowledge].
Section V: Writing Instruction and the RFH Community
Writing instruction in Film Studies is aligned with the philosophy expressed in Writing Instruction and
The RFH Community, fostering student engagement in teacher-designated writing situations that
challenge them to:
write to improve mechanical proficiency, diction usage, and syntactical sophistication;

write to narrate, describe, and reflect;
write to summarize and report;
write to classify and define;
write to explain how process leads to an outcome;
write to compare, contrast and evaluate;
write to speculate on cause and effect;
write to propose solutions and solve problems;
write to analyze.
See the Appendix for the complete statement of Writing Instruction and The RFH Community.
Section VI: Unit Sequence
The following unit sequence is implemented in Film Studies:
Critical Distinction: Viewing Films vs. Watching Movies

Classics
Hitchcock as Auteur
The Modern Noir
Film Noir
Hollywood Opposition
The Documentary Film
The Foreign Film
Section VII: Focus Films

The following focus films are utilized to support instruction in Film Studies. These focus films include:
American Beauty
An Occurrence at Owl Creek

Bridge
Bottle Rocket,
Casablanca
3
City of God,
The Darjeeling Limited,
The Dark Knight
Disturbia
Donnie Darko
Double Indemnity
Encounters at the End of the
World
Eternal Sunshine of the
Spotless Mind
Exit Through the Gift Shop
The Fantastic Mr. Fox
An Inconvenient Truth
Inside Job Hoop Dreams
Jaws
LA Confidential,
The Life Aquatic,
Life is Beautiful
Magnolia
The Maltese Falcon,
March of the Penguins
Moonrise Kingdom
Mulholland Drive
Murderball
North by Northwest
On The Waterfront
Pans Labyrinth
Psycho
Rear Window
The Royal Tenenbaums
Rushmore
Sin City
The Usual Suspects
The Wrestler
Who Killed The Electric Car
Section VIII: Texts and Instructional Resources
The following texts and instructional resources are employed in Film Studies:
The Complete Idiots Guide to Classic Movies

The Mind of the Modern Movie Maker
Section IX: Language Usage Instruction

Language usage instruction in Film Studies complements the development of written assessments. The
members of the Film Studies Instructional Team will reference and reinforce the skills detailed on the
outline of English Language Progressive Skills 9-12 endorsed by the Common Core State Standards
Initiative.
CCSSI English Language Progressive Skills by Grade 9-12
By Grade 12, students will:
Ensure subject-verb and pronoun-antecedent agreement.

Choose words and phrases for effect.
Produce complete sentences, recognizing and correcting inappropriate fragments and run-ons.
Correctly use frequently confused words (e.g., to/too/two; there/their).
Choose words and phrases to convey ideas precisely.
Choose punctuation for effect.
Recognize and correct inappropriate shifts in verb tense.

Use punctuation to separate items in a series.
Recognize and correct inappropriate shifts in pronoun number and person.
Recognize and correct vague pronouns (i.e., ones with unclear or ambiguous antecedents).
Recognize variations from standard English in their own and others writing and speaking, and identify
and use strategies to improve expression in conventional language.
Use punctuation (commas, parentheses, dashes) to set off nonrestrictive/parenthetical elements.
Vary sentence patterns for meaning, reader/listener interest, and style.
Maintain consistency in style and tone.
Place phrases and clauses within a sentence, recognizing and correcting misplaced and dangling
modifiers.
Choose language that expresses ideas precisely and concisely, recognizing and eliminating wordiness and
redundancy.
Recognize and correct inappropriate shifts in verb voice and mood.
Use parallel structure.
Section X: Grading Formulas

The following grading formulas have been established for Marking Periods 1, 2, and 4 and Marking
Period 3. In Marking Periods, 1, 2, and 4, 80% of the students grade is based upon marking period work.
20% of the students grade is based upon performance on an end of marking period assessment/exam. In
Marking Period 3, 100% of the students grade is exclusively based upon marking period work.
As a result of these grading formulas, the students final grade for the year is: 85% marking period work;
15% end of marking period assessment/exam performance.
Marking Periods 1, 2, and 4 Grading Categories and Percentages
Category
Class Participation
Class Work
Homework
Minor Assessment
Major Assessment
End of Marking
Period
Assessment/Exam
Film Studies
08%
08%
12%
20%
32%
20%
Marking Period 3 Grading Categories and Percentages

Category
Class Participation
Class Work
Homework
Minor Assessment
Major Assessment
Film Studies
10%
10%
15%
25%
40%
Section XI: LinksState and National Standards

The following links to state and national standards confirm the alignment between the Film Studies
Curriculum and the performance expectations that have been established by governing agencies
and authorities.
Common Core State Standards Initiative: English Language Arts Standards
http://www.corestandards.org/the-standards/english-language-arts-standards
5
2009 NJDE Core Curriculum Content Standards (Standards Search Criteria)
http://www.njcccs.org/search.aspx [Select 21st Century Life and Career Skills and/or
Technology]
Section XII: Curriculum Pacing Guide
The Film Studies Instructional Team must confer at the start of each academic year and project
instructional pacing using the Curriculum Pacing Guide. This Curriculum Pacing Guide must be
submitted to the English Department Supervisor for approval upon completion. The members of the Film
Studies Instructional Team are required to assess the accuracy of the projected instructional pacing upon
completion of each unit in the Film Studies Curriculum.
Curriculum Pacing Guide
Course Title: Film Studies
Grade Level: Grades 10-12
Content Area: English
Date Created:
Critical Distinction: Viewing Films vs.

Watching Movies
Unit Pacing Guide
The Classic Film
Unit Pacing Guide
Hitchcock as Auteur
Unit Pacing Guide
The Modern Auteur
Unit Pacing Guide
Film Noir
Unit Pacing Guide
Hollywood Opposition
Unit Pacing Guide
The Documentary
Unit Pacing Guide
The Foreign Film
Unit Pacing Guide
Date Created:
Section XIII: Unit Templates

The members of the Film Studies Instructional Team have developed the following unit templates for the
units that comprise the Film Studies Curriculum.
In each of these detailed experiences, students in Film Studies will:
1.
acquire/develop/refine the literacy capacities needed for college and career readiness according to the
Common Core State Standards in English Language Arts, focusing on the anchor standards (Reading;
Writing, Speaking and Listening, and Language);
6
2.
3.
4.
5.
6.
participate as knowledgeable, reflective, creative and thoughtful members of a literacy community as

they establish a critical awareness of film as a textual medium of aesthetic, cultural and ideological
expression;
acquire/develop/refine the higher-order critical thinking skills aligned with the Revised Blooms
Taxonomy of Cognitive Objectives;
acquire/develop/refine the skills needed to be active, informed citizens who value diversity and
promote cultural understanding by working collaboratively to address the challenges that are inherent
in living in an interconnected world [NJCCS 6.3: Active Citizenship in the 21st Century];
acquire/develop/refine the ability to use technology to work with information in a variety of contexts
in order to solve problems and to create and communicate knowledge [2009 NJCCCS 8.1:
Educational Technology];
acquire/develop/refine the multi-dimensional skills required of 21 st Century learners as established by
the Partnership for 21st Century Skills [2009 NJCCCS Standard 9.1: 21st Century Life Skills].
Unit Overview

Unit Title: Critical Distinction: Viewing Films vs. Watching Movies
Target Course: Film Studies
Core Film Text(s): An Occurrence at Owl Creek Bridge and Selected Film Clips from TeacherDesignated Films
Unit Summary
In Critical Distinction: Viewing Films vs. Watching Movies, students will learn the distinction between
passive and active engagement with film, build a working vocabulary of terms for film analysis, and develop
a critical awareness of film as a textual medium of aesthetic, cultural and ideological expression. Students
will also be introduced to the writings of Roger Ebert of The Chicago Sun and Anthony Oliver Scott of The
New York Times, two of the foremost contemporary film critics in America.
The following resources will be referenced in Critical Distinction: Viewing Films Vs. Watching Movies:
An Occurrence at Owl Creek Bridge, Ambrose Bierce

Mind of the Modern Movie Maker
Roger Eberts Chicago Sun Times Website (http://rogerebert.suntimes.com/)
Anthony Oliver Scotts New York Times Website ( http://movies.nytimes.com/movies/critics/A-OScott/)
Unit Rationale
Critical Distinction: Viewing Films vs. Watching Movies supports the development of literacy capacities and
higher-order critical thinking skills through its concentration on unit-specific concentrations in the formal
study of film. The formal study of film necessitates the establishment of a common, working vocabulary of
essential terminology. This terminology and applied practice will enable students to critically engage with
film.
Learning Targets
The Learning Targets for Critical Distinction: Viewing Films vs. Watching Movies are aligned with the
CCSSIs College and Career Ready Anchor Standards in Reading, Writing, Speaking and Listening , and
Language Use. The CCSSSIs Standards for English Language Arts Grades 10-12 will be cross-referenced
and cited in lesson plans.
Related cognitive criteria, content statements and standardsincluding interdisciplinary connectionsfor
Critical Distinction: Viewing Films Vs. Watching Movies include: Revised Blooms Taxonomy of Cognitive
Objectives; CCSSIs English Language Progressive Skills by Grade 9-12; 2009 NJCCCS 6.3: Active
Citizenship in the 21 st Century; 2009 NJCCCS 8.1: Educational Technology; NJCCCS Standard 9.1: 21 st
Century Life Skills; 2009 NJCCCS 9.3: Career Awareness, Exploration, and Preparation.
CCSSI
College and Career Readiness Anchor Standard Concentrations
Key Ideas and Details (Anchor: 1, 2, 3:); Craft and Structure (Anchor: 5 and 6); Integration
Reading
Writing
Speaking
and
Listening
of Knowledge and Ideas (Anchor: 7).

Text Types and Purposes (Anchor: 1, 2, 3); Production and Distribution of Writing (Anchor:
4, 6); Research to Build and Present Knowledge (Anchor: 8); Range of Writing (Anchor:
10).
Comprehension and Collaboration (Anchor: 1, 2, 3); Presentation of Knowledge and Ideas
(Anchor: 4, 5, 6).
Conventions of Standard English (Anchor: 1, 2); Knowledge of Language (Anchor: 3);

Vocabulary Acquisition and Use (Anchor: 6)
Unit Essential Questions
Unit Enduring Understandings
What is the difference between active
There is a significant difference in
viewing and passive watching?
engagement. Active viewing requires
increased focus and the use of higher-order
Why are terms needed for the formal study
thinking skills. Passive watching is devoid of
of film?
critical engagement.
Is there a common set of techniques in
A common film lexicon facilitates the

film?
critical examination of film and enables
What role does the film critic play in
viewers to engage in informed discourse on
contemporary culture?
the merits of a common film text.
Language
While the film production process is

multifaceted and ever-changing due to
technological innovations, a common set of
techniques are utilized by directors when
they create films.
The film critic plays a significant role in
contemporary culture. The film critic
confirms the aesthetic, cultural, and
ideological value of film, raising our
awareness of art through their critical
engagement with the medium.
Evidence of Learning
Formative Assessment(s)
Class Participation
Summative Assessment(s)
A-Ha Project
Class Work
Critical Viewing Guide and Questions
Quarterly Exam
Signs Film Review
Film Studies Journal

Graphic Organizer
Terminology Assessment
Homework
Quizzes
Storyboard Assignment
Unit Overview
Unit Title: The Classic Film
Core Film Text(s): Casablanca, The Dark Knight, Jaws and On The Waterfront
Unit Summary
8
In The Classic Film, students learn the conventions of the Classic Hollywood film. They will construct and
revise a social definition of what constitutes a Classic film, view and analyze films that reflect these
conventions, and suggest contemporary works that might someday become part of the Classic film canon.
The following resources will be referenced in The Classic Film:
The Complete Idiots Guide to Classic Movies
American Film Institute http://www.afi.com/100years/movies.aspx
Unit Rationale
The Classic Film supports the development of literacy capacities and higher-order critical thinking skills
through its concentration on unit-specific concentrations in the formal study of film. The Classic film
definition merits careful consideration by students, because the analysis of this unique cultural construct will
enable students to appreciate the works that have been canonized and to identify contemporary texts that
have the potential to supplement the established body of work. Students will also gain an understanding of
the ongoing evolution of the film as an art form.
Learning Targets
The Learning Targets for The Classic Film are aligned with the CCSSIs College and Career Ready Anchor
Standards in Reading, Writing, Speaking and Listening, and Language Use. The CCSSSIs Standards for
English Language Arts Grades 10-12 will be cross-referenced and cited in lesson plans.

The Classic Film include: Revised Blooms Taxonomy of Cognitive Objectives; CCSSIs English Language
Progressive Skills by Grade 9-12; 2009 NJCCCS 6.3: Active Citizenship in the 21 st Century; 2009 NJCCCS
8.1: Educational Technology; 2009 NJCCCS Standard 9.1: 21st Century Life Skills; 2009 NJCCCS 9.3:
Career Awareness, Exploration, and Preparation.
CCSSI
Key Ideas and Details (Anchor: 1, 2, 3); Craft and Structure (Anchor: 5, 6); Integration of
Reading
Knowledge and Ideas (Anchor: 7).
Text Types and Purposes (Anchor: 1); Production and Distribution of Writing (Anchor: 4,
Writing
6); Range of Writing (Anchor:10).
Speaking
(Anchor: 4, 5, 6).
and
Listening
Conventions of Standard English (Anchor: 1, 2).
Language
Is there an established canon of classic
films?
How does a film attain the Classic status?
Why do modern audiences resist Classic

films?
How does a viewer identify the Classic

potential of a contemporary film?

Yes: a significant body of works has been
positioned in the canon of Classic films. The
American Film Institute (AFI) is one
organization that works to preserve the
history of the motion picture, honor the
artists and their work, and educate the next
generation of cinematic storytellers.
A film attains the Classic status for a variety

of reasons. There is no set formula. Some
factors remain fairly constant, while others
shift with time.
Passive watchers of modern film resist

Classic texts because they lack the
knowledge and praxes associated with active
viewing.
The knowledge and praxes associated with

active viewing help the viewer identify the
9
Classic potential of a contemporary film.
Through discourse with like-minded peers,
the active viewer can readily determine
whether or not a modern work has Classic
Potential.
AFI Film Survey

Class Participation
Quarterly Exam
Redefining Classic Film Project
Seminar
Class Work
The Complete Idiots Guide Chapter
Analysis/Comparison

Graphic Organizer
Homework
Quizzes
Unit Overview
Unit Title: Hitchcock as Auteur
Core Film Text(s): Disturbia, North by Northwest, Psycho and Rear Window
Unit Summary
In Hitchcock as Auteur, students will be introduced to auteur theory through the study of Alfred Hitchcock.
Auteur theory holds that a director's film reflects the director's personal creative vision, as if they were the
primary "auteur" (the French word for "author"). Students will examine Hitchcocks unquestioned status as
auteur and see how he has influenced subsequent filmmakers.
The following resources will be referenced in Hitchcock as Auteur:
Unit Rationale
Hitchcock as Auteur supports the development of literacy capacities and higher-order critical thinking skills
through its concentration on unit-specific concentrations in the formal study of film. This introduction to
auteur theory will help students indentify modern directors who, like Hitchcock, have produced works that
demonstrate their own unique personal creative visions. Hitchcock as Auteur will also reinforce student
understanding of the criteria used to identify a film as a Classic.
Learning Targets
The Learning Targets for Hitchcock as Auteur are aligned with the CCSSIs College and Career Ready
Anchor Standards in Reading, Writing, Speaking and Listening, and Language Use. The CCSSSIs
Standards for English Language Arts Grades 10-12 will be cross-referenced and cited in lesson plans.
10
Hitchcock as Auteur include: Revised Blooms Taxonomy of Cognitive Objectives; CCSSIs English
Language Progressive Skills by Grade 9-12; 2009 NJCCCS 6.3: Active Citizenship in the 21 st Century;
2009 NJCCCS 8.1: Educational Technology; 2009 NJCCCS Standard 9.1: 21 st Century Life Skills; 2009
NJCCCS 9.3: Career Awareness, Exploration, and Preparation.
CCSSI
Reading
Writing
Speaking
(Anchor: 4, 5, 6).
and
Listening
Language
What makes a filmmaker an auteur?

In spite ofand sometimes even because of
the production of the film as part of an
Did Hitchcock have signature techniques
industrial process, the auteur's creative voice
that helped him attain auteur status?
is distinct enough to shine through all kinds
How has Hitchcock changed the modern
of studio interference and resonate
movie landscape?
throughout the collective process.
Hitchcock used thirteen techniques in his
films that heightened audience suspense and
forced viewers to engage in a form of
cinematic voyeurism.
Hitchcocks legacy extends well beyond the
time frame in which he worked. Modern
filmmakers continue to use him as an
inspiration and model in their own work. On
occasion, some filmmakers create modern
variations
of
Hitchcocks
originals,
demonstrating the timeless qualities of the
auteurs work.
Class Participation
Hitchcock Influence Project
Class Work

Graphic Organizer
Hitchcock PowerPoint Presentation

Homework
Quizzes
Unit Overview
Unit Title: The Modern Auteur
Quarterly Exam
Seminar
11
Core Film Text(s): Bottle Rocket, The Darjeeling Limited, The Fantastic Mr. Fox, The Life Aquatic,
Moonrise Kingdom, The Royal Tenenbaums, and Rushmore
Unit Summary
In The Modern Auteur, students will heighten their understanding of auteur theory, applying associated
concepts to a modern film directorWes Anderson. Students will identify the components that comprise
Andersons signature artistic style and determine whether he merits auteur status.
The following resources will be referenced in The Modern Auteur:
The Substance of Style (on-line video essay) http://www.movingimagesource.us/articles/thesubstance-of-style-pt-1-20090330/
Unit Rationale
The Modern Auteur supports the development of literacy capacities and higher-order critical thinking skills
through its concentration on unit-specific concentrations in the formal study of film. This continuation of
the study of auteur theory will help students indentify modern directors who have produced works that
demonstrate their own unique, personal, creative visions.
Learning Targets
The Learning Targets for The Modern Auteur are aligned with the CCSSIs College and Career Ready
The Modern Auteur include: Revised Blooms Taxonomy of Cognitive Objectives; CCSSIs English
CCSSI
Reading
Writing
6); Research to Build and Present Knowledge (Anchor: 9) Range of Writing (Anchor:10).
Speaking
(Anchor: 4, 5, 6).
and
Listening
Language
What are some of the common aesthetics
of Wes Andersons films?
What is the auteur paradox?
Does Wes Anderson have the potential to

grow as a director and attain auteur
status?

Andersons films reflect common aesthetics.
He employs a deliberate, methodical
cinematography, working with mostly
primary colors. His soundtracks feature folk
and early rock music, in particular classic
British rock. Anderson's films combine dry
humor with poignant portrayals of
dysfunctional, flawed and quirky characters
oftentimes a mix of the wealthy and the
working class. He is also known for working
with many of the same actors and crew on
varying projects.
The auteur paradox is a trap that some
directors fall into when their unique
signature characteristics do not reflect the
12
evolutionary process needed to attain auteur
status. M. Night Shyamalan is an example of
one modern director that has fallen victim to
the auteur paradox.
Anderson, to date, has avoided the auteur
paradox. He has evolved consistently with
each film, retaining signature elements and
incorporating new ones. If he continues to do
so, it is possible that he will attain auteur
status.
Class Participation
Quarterly Exam
Class Work

Graphic Organizer
Homework
Quizzes
Substance of Style Assignment
Seminar
Wes Anderson Signature Style Project
Unit Overview
Unit Title: Film Noir
Core Film Text(s): Double Indemnity, LA Confidential, The Maltese Falcon, Sin City and The Usual
Suspects
Unit Summary
In Film Noir, students will learn how a genre of film has evolved over the course of history, analyzing the
cultural forces and factors that have allowed this dark genre to remain a staple of the American Cinema.
Students will identify the signature characteristics of classic film noir and see how these representative
facets continue to resonate in modern films, including revisionist noir and neo noir productions.
The following resources will be referenced in Film Noir:
American Film Institute http://www.afi.com/100years/movies.aspx
Unit Rationale
Film Noir supports the development of literacy capacities and higher-order critical thinking skills through
its concentration on unit-specific concentrations in the formal study of film. Students will identify and
analyze the cultural forces that have sustained film noir since the 1940s and understand how common
human emotions and experiences support the ongoing production of dark, complex cinematic experiences.
Learning Targets
The Learning Targets for Film Noir are aligned with the CCSSIs College and Career Ready Anchor
13
Film Noir include: Revised Blooms Taxonomy of Cognitive Objectives; CCSSIs English Language
CCSSI
Reading
Knowledge and Ideas (Anchor: 7, 9).
Writing
Speaking and Comprehension and Collaboration (Anchor: 1, 2, 3); Presentation of Knowledge and Ideas
(Anchor: 4, 5, 6).
Listening
Language
What is classic film noir?

Classic film noir is a genre that developed
after World War II, capitalizing on the postHow has classic film noir as a genre
war ambience of anxiety, pessimism, and
evolved over the years?
suspicion. These films reflected the tensions,
Why do American audiences continue to
insecurities, and uncertainties of this era and
embrace classic film noir and its
counterbalanced
the
optimism
that
cinematic offspring?
characterized popular Hollywood comedies
and musicals. Fear, mistrust, bleakness, loss
of innocence, despair and paranoia are
readily evident in classic film noir.
Classic film noir has evolved considerably
over the past seventy years. Revisionist noir
and neo noir productions reflect the ongoing
evolution of the genre. While the latter
variations retain some of the characteristics
of the foundation mode, they also manifest
differences that reflect the overall
evolutionary process
America is constantly subject to highs and
lows that almost mirror the exact cultural
mindset and societal conditions that led to
the establishment of the genre almost
seventy years ago. As a result, directors are
drawn to noir genre elements and subjects,
seeking to construct films that respond to
existing cultural and societal issues.
Class Participation
Class Work

Graphic Organizer
Homework
Quizzes
Quarterly Exam
Seminar
Updating Film Noir Project
14
Unit Overview
Unit Title: Hollywood Opposition
Core Film Text(s): American Beauty, Donnie Darko, Eternal Sunshine of the Spotless Mind, Magnolia,
Mulholland Drive, and The Wrestler
Unit Summary
In Hollywood Opposition, students will study the structure, character types and filmmaking conventions of
the typical Hollywood film in order to better understand how daring and innovative directors can subvert
this dominant artistic model and the industry that supports it.
The following resources will be referenced in Hollywood Opposition:
Unit Rationale
Hollywood Opposition supports the development of literacy capacities and higher-order critical thinking
skills through its concentration on unit-specific concentrations in the formal study of film. The typical
Hollywood film is aligned with a dominant artistic modelone that has been endorsed by the industry. The
hegemonic influence of this framework is pronounced. By indentifying the components of this endorsed
structure, students will be able to see how Hollywood regulates the industry and impacts our understanding
of film. Through the analysis of works by directors that resist the dominant artistic model, students will be
able to see the aesthetic possibilities that come through subversive, creative action.
Learning Targets
The Learning Targets for Hollywood Opposition are aligned with the CCSSIs College and Career Ready
Hollywood Opposition include: Revised Blooms Taxonomy of Cognitive Objectives; CCSSIs English
CCSSI
Reading
Writing
6); Research to Build and Present Knowledge (Anchor: 9) Range of Writing (Anchor:10).
Speaking
(Anchor: 4, 5, 6).
and
Listening
Language
What is the formula

Hollywood films
Why
does
of a
Hollywood
typical
produce

A typical Hollywood film has a linear plot
structure, characters with clear motives and
unambiguous
morals,
conflict
and
resolution. The production involves popular
15
conventional films that adhere to a

common framework?
Why would a director choose to challenge
Hollywood by creating a film that does not
adhere
to
the
industry-endorsed
framework?
How does Hollywood respond to films that
challenge
the
accepted
cinematic
paradigm?
actors and directors and reflects studio

control.
Conventional films that adhere to a
conventional framework appeal to mass
audiencesespecially those that enjoy
passive watching. Essentially, conventional
films sustain the industry.
Directors choose the subversive path for a
variety of reasonsthe primary one being
the fact that they feel creatively restricted by
the industry-endorsed framework.
If the film is well-received, Hollywood

attempts to appropriate what it can from the
subversive text, incorporating these elements
into the industry-endorsed framework.
Class Participation
Defining Genre Assignment
Anti-Hollywood Film Project

Quarterly Exam
Class Work
Seminar

Graphic Organizer
Homework
Quizzes
Unit Overview
Unit Title: The Documentary Film
Core Film Text(s): An Inconvenient Truth, Encounters at the End of the World, Exit Through the Gift
Shop, Hoop Dreams, Inside Job, March of the Penguins, Murderball and Who Killed The Electric Car
Unit Summary
In The Documentary Film, students will study the form and function of the contemporary documentary film.
Students will analyze how time and truth are manipulated by the director in the text, examining the roles
that ideology plays in shaping the viewers perception of the subject positioned in the documentary film.
The following resources will be referenced in The Documentary Film:
Unit Rationale
16
The Documentary Film supports the development of literacy capacities and higher-order critical thinking
skills through its concentration on unit-specific concentrations in the formal study of film. The documentary
film is a unique cinematic constructone that is different from the traditional narrative film. The analysis
of the processes and techniques used to manipulate and represent time and truth and convey ideology in the
documentary film will help students understand how these related concepts are mediated in other
communicative contexts.
Learning Targets
The Learning Targets for The Documentary Film are aligned with the CCSSIs College and Career Ready
The Documentary Film include: Revised Blooms Taxonomy of Cognitive Objectives; CCSSIs English
CCSSI
Reading
Knowledge and Ideas (Anchor: 7, 8, 9).
Text Types and Purposes (Anchor: 1, 3); Production and Distribution of Writing (Anchor: 4,
Writing
Speaking
(Anchor: 4, 5, 6).
and
Listening
Language
Are there techniques common only to the
documentary film?
How does a documentary films structure
support the conveyance of an ideological
perspective?
How are time and truth manipulated and

represented in the documentary film and
how does this process convey ideology?
How does the documentary filmmaker
select an appropriate subject for his work?

Yes: if these techniques are used in a
narrative film, they are only positioned in
the text to support the creative storyline.
Specific techniques, editing decisions, and

distribution practices that are unique to the
documentary film support the conveyance of
an ideological perspective.
Visual and rhetorical strategies are purposely

employed in the manipulative and
representative process, resulting in the
conveyance of ideology.
The documentary filmmaker looks at the

world around him, identifying subjects that
impact the human condition. Oftentimes,
paramount political issues drive the selection
of foci for documentary films.
17
Class Participation
Class Work
Documentary Film Contest

Quarterly Exam

Seminar
Graphic Organizer
Homework
Quizzes
Transformation Assignment
Unit Overview
Unit Title: The Foreign Film
Core Film Text(s): City of God, Life is Beautiful, and Pans Labyrinth
Unit Summary
In The Foreign Film, students will study recent examples of foreign film that have achieved international
acclaim and recognition. Students will analyze these cinematic texts, noting the respective qualities of the
works that resulted in their recognition by global audiences.
The following resources will be referenced in The Foreign Film:
Unit Rationale
The Foreign Film supports the development of literacy capacities and higher-order critical thinking skills
through its concentration on unit-specific concentrations in the formal study of film. Foreign films are
usually restricted to audiences of the cultures that produced them and active viewers from other cultures. On
occasion, some of these works cross cultural boundaries, resulting in global, critical attention. By examining
works that have successfully crossed cultural boundaries, students will become more conscious of the
importance of film as a global art form.
Learning Targets
The Learning Targets for The Foreign Film are aligned with the CCSSIs College and Career Ready Anchor
The Foreign Film include: Revised Blooms Taxonomy of Cognitive Objectives; CCSSIs English Language
CCSSI
Reading
Knowledge and Ideas (Anchor: 7, 9).
18
Writing
Speaking
and
Listening
Language
(Anchor: 4, 5, 6).
Is the aesthetic medium of film restricted

to some cultures?
How do foreign directors mediate culture?

What enables a foreign film to transcend
cultural boundaries?
Film is not restricted to some cultures. There

is an array of factors that impact how
cultures produce and disseminate films.
Culture mediation is a challenging process
for many foreign directors. Filmmakers in
the United States have freedoms and
opportunities that many of their foreign
colleagues lack. Consequently, foreign
directors must negotiate a variety of forces
and factors as they mediate culture in their
texts. Political repression and censorship
often restrict foreign film directors.
A foreign film is able to transcend cultural

boundaries when it is characterized by facets
of the human experience that are not limited
to one cultural context.
Class Participation
Class Work
Foreign Film Review

Quarterly Exam

Seminar
Graphic Organizer
Homework
Quizzes
Section XIV: Unit Reflection

The Film Studies Instructional Team must confer upon the completion of each instructional unit in the
Film Studies Curriculum and rate the degrees to which the instructional units meet performance criteria
established by the New Jersey Department of Education using the Unit Reflection Form. Completed Unit
Reflection Forms must be submitted to the English Department Supervisor for approval upon completion
of curriculum implementation with a complementing list of suggested modifications to the Film Studies
Curriculum.
Unit Reflection Form: Film Studies
Unit:
Lesson Activities:
Foster student use of technology as a tool to develop
critical thinking, creativity and innovation skills;
Strongly
Moderately
Weakly
19
Are challenging and require higher order thinking and
problem solving skills;
Allow for student choice;
Provide scaffolding for acquiring targeted
knowledge/skills;
Integrate global perspectives;
Integrate 21st century skills;
Provide opportunities for interdisciplinary connection and
transfer of knowledge and skills;
Are varied to address different student learning styles and
preferences;
Are differentiated based on student needs;
Are student-centered with teacher acting as a facilitator
and co-learner during the teaching and learning process;
Provide means for students to demonstrate knowledge and
skills and progress in meeting learning goals and
objectives;
Provide opportunities for student reflection and selfassessment;
Provide data to inform and adjust instruction to better
meet the varying needs of learners.
Appendix
CCSI English Language Progressive Skills by Grade 9-12
By Grade 12, students will:
Ensure subject-verb and pronoun-antecedent agreement.

Choose words and phrases for effect.
Produce complete sentences, recognizing and correcting inappropriate fragments and run-ons.
Correctly use frequently confused words (e.g., to/too/two; there/their).
Choose words and phrases to convey ideas precisely.
Choose punctuation for effect.
Recognize and correct inappropriate shifts in verb tense.
Use punctuation to separate items in a series.
Recognize and correct inappropriate shifts in pronoun number and person.
Recognize and correct vague pronouns (i.e., ones with unclear or ambiguous antecedents).
Recognize variations from standard English in their own and others writing and speaking, and identify
and use strategies to improve expression in conventional language.
Use punctuation (commas, parentheses, dashes) to set off nonrestrictive/parenthetical elements.
Vary sentence patterns for meaning, reader/listener interest, and style.
Maintain consistency in style and tone.
Place phrases and clauses within a sentence, recognizing and correcting misplaced and dangling
20
modifiers.
Choose language that expresses ideas precisely and concisely, recognizing and eliminating wordiness and
redundancy.
Recognize and correct inappropriate shifts in verb voice and mood.
Use parallel structure.
The relationship of word to thought, and the creation of new concepts, is a complex,
delicate and enigmatic process unfolding in our soul.
Leo Tolstoy
Writing Instruction and the RFH Community
Writing instruction should happen across the RFH Community. Writing across the curriculum is a
philosophy that advances the belief that writing is a method of learning. Since all departments are
committed to helping students learn, writing must be used as a methodology to advance student learning.
Each academic discipline has its own unique conventions, formats and structures. It is the responsibility of
each department to agree upon domain-specific writing praxes, model them for students, and require them
to utilize them on a consistent basis. Students must understand that acceptable writing in one domain may
not be acceptable writing in another area. The development of domain-specific writing skills supports the
overall development of the student writer because all writing is grounded in the writing situation:
audience, context, purpose, subject, and writer. Representatives from the academic disciplines must share
their domain-specific writing praxes with each other, identify intersections, and determine how to address
perceived gaps that limit student learning.
Students must experience writing situations that help them learn how to think creatively and critically and
communicate effectively in the academic disciplines. Writing instruction, regardless of the academic
discipline, must always reinforce student understanding of the writing situation. When students
experience writing situations, they must study examples of domain-specific writing in order to understand
how writers communicate in discipline-related contexts. This does not mean information embedded in
textbooks. Domain-specific writing is writing that is used to inform and influence readers as it draws them
into an established circle of discourse. Students must use these non-fiction texts to develop the close
reading skills that will shape their own writing. Focused engagement with domain-specific writing should
not be limited to basic reading comprehension and topical understanding. It must also include the analysis
of the writing situation that is represented in the text: audience, context, purpose, subject, and writer. The
close reading of well-written textsregardless of the domainwill show students the importance of
writing mechanics, diction, and syntax. The development of close reading skills will also help the students
grow in terms of their ability to construct and advance independent and original claims that are wellsupported by evidence. Domain-specific writing is grounded in positioning of claims and the effective use
of evidence.
The final written product is important; nevertheless, the learning that results in this production must not
be devalued. The writing process is not limited to the basic steps of planning, drafting, revising, and
editing/proofreading. It is a complex sequence of critical and creative thinking and writing that leads to
the production of a text that provides evidence of learning and understanding. Students must ultimately
develop the ability to self-assess the effectiveness of their writing as a representation of the writing
situation. Without the use of models that evidence learning and understanding, students will not develop
the ability to self-assess their own workthe true outcome of the writing process.
21
What types of writing situations should RFH students engage in?

RFH students should engage in writing situations across the curriculum that require them to:
write to improve mechanical proficiency, diction usage, and syntactical sophistication;

write to narrate, describe, and reflect;
write to summarize and report;
write to classify and define;
write to explain how process leads to an outcome;
write to compare, contrast and evaluate;
write to speculate on cause and effect;
write to propose solutions and solve problems;
write to analyze.
These writing situations should be positioned in a coordinated, developmental sequence that extends
across the academic disciplines.
Upon Completion of Grade 12, RFH students must be ready to transition to the following writing
situations:
write to analyze;
write to persuade (argument).
The core foci of first-year college writing courses are analysis and argument. These courses orient the
students to the demands and expectations of writing for the academic culture of college. At
colleges/universities with carefully coordinated writing programs, students must demonstrate proficiency
in analysis and argument before they transition to upper level courses that require them to engage in the
following writing situation:
write to investigate (research).

Film Studies Curriculum 2012-2013

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Rumson-Fair Haven Regional High School

Film Studies Curriculum

Film Studies Instructional Team

Section I: Course Description

write to improve mechanical proficiency, diction usage, and syntactical sophistication;

Critical Distinction: Viewing Films vs. Watching Movies

Section VII: Focus Films

An Occurrence at Owl Creek

The Complete Idiots Guide to Classic Movies

Section IX: Language Usage Instruction

Ensure subject-verb and pronoun-antecedent agreement.

Recognize and correct inappropriate shifts in verb tense.

Section X: Grading Formulas

Marking Period 3 Grading Categories and Percentages

Section XI: LinksState and National Standards

Grade Level: Grades 10-12

Content Area: English

Critical Distinction: Viewing Films vs.

Unit Pacing Guide

The Classic Film

Unit Pacing Guide

Unit Pacing Guide

The Modern Auteur

Unit Pacing Guide

Unit Pacing Guide

Unit Pacing Guide

Unit Pacing Guide

The Foreign Film

Unit Pacing Guide

Section XIII: Unit Templates

participate as knowledgeable, reflective, creative and thoughtful members of a literacy community as

Content Area: English

An Occurrence at Owl Creek Bridge, Ambrose Bierce

of Knowledge and Ideas (Anchor: 7).

Conventions of Standard English (Anchor: 1, 2); Knowledge of Language (Anchor: 3);

A common film lexicon facilitates the

While the film production process is

Film Studies Journal

Related cognitive criteria, content statements and standardsincluding interdisciplinary connectionsfor

Why do modern audiences resist Classic

How does a viewer identify the Classic

Unit Enduring Understandings

A film attains the Classic status for a variety

Passive watchers of modern film resist

The knowledge and praxes associated with

AFI Film Survey

Film Studies Journal

Unit Enduring Understandings

Film Studies Journal

Hitchcock PowerPoint Presentation

Does Wes Anderson have the potential to

Unit Enduring Understandings

Film Studies Journal

Substance of Style Assignment

Unit Enduring Understandings

Film Studies Journal

What is the formula

Unit Enduring Understandings

conventional films that adhere to a

actors and directors and reflects studio

If the film is well-received, Hollywood

Anti-Hollywood Film Project

Film Studies Journal

How are time and truth manipulated and