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Journal 9/3/13 - PowerPoint PPT Presentation

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Journal 9/3/13
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  1. Journal 9/3/13 Describe an event in which something you said or did in the context of a particular moment was misconstrued by someone else. What were the consequences? How did you clear up the misunderstanding?

  2. Symbolism and Archetypes Objectives: Explore Symbolism and archetypes in film explain how symbolism enhances literary works Examine context and subtext and apply the analysis to film and writing examine literary devices such as symbolism, foreshadowing, and the elements of a story through the sixth sense

  3. What we see isn’t always what we get While “context” deals with what seems to be going on at a surface level, “subtext” is everything that exists beneath. Subtext is an element of the glue that holds a story together because it not only reiterates the core message of the film throughout but hints at the underlying (and sometimes contrary) meanings behind a character’s actions and words. Subtext is also conveyed through the use of symbolism.

  4. Symbol/Symbolism A symbol is an object, animate or inanimate which represents or ‘stands for’ something else. A symbol differs from an allegorical sign in that it has a real existence, whereas an allegorical sign is arbitrary. Actions and gestures are also symbolic.

  5. Archetype The term refers to: A statement, or pattern of behavior, a prototype upon which others are copied, patterned, or emulated. A constantly recurring symbol or motif in literature, painting or mythology. This usage of the term draws from both comparative anthropology and Jungian archetypal theory.

  6. Archetypal Examples The hero The scapegoat The outcast The temptress The wise old man The villain/devil figure The innocent The witch/ugly stepmother The quest The task 3 The mother figure

  7. Context + Subtext = Delivery The context of a scene provides us with a framework relative to the emotions, dialogue and action contained within it. If the subtext is consistent with the content, there’s little need to explain how a line should be delivered; we already know the characters’ objectives and how their verbiage reflects those goals.

  8. Activity • For each of the following lines, come up with three different contexts in which it could be used. • I don’t have the money. • This is bad. • We have to do something. • It can’t be true. • Do you mind? • Can I trust you?

  9. Cliché The writing’s on the wall… a cliché an expression, idea, or element of an artistic work which has become overused to the point of losing its original meaning, or effect, and even, to the point of being trite or irritating, especially when at some earlier time it was considered meaningful or novel.

  10. Stereotypes and Character Reversals While political correctness has done much to combat the perpetuation of global “isms” (racism, sexism, etc.), too often authors resort to typecasting as a lazy way to fill up space. In doing so, they inject predictability into these characters’ actions and dilute a story’s element of surprise. In order to change this, some authors employ reversals, imbuing “types” with traits contrary to our expectations. Examples of each?

  11. Journal – 9/4/13 How does music (individual songs or film score) enhance a film? What are some films that stick out to you because of the music?

  12. Journal 9/6/13 • What symbols/archetypes from film really impact you? • i.e. • The “heart of the sea” necklace from Titanic • The rose petals from American Beauty • Harry Potter’s lightning bolt scar

  13. Journal Which do you feel perpetuate stereotypes more: sitcoms or TV dramas? Provide three examples from each to support your answer.

  14. Journal The following occupations are often portrayed in film and TV as stereotypes: hairdressers, truck drivers, bartenders, Hollywood agents, fast food clerks, school principals, fashion models, bank security guards. Pick one of them and create a reversal we wouldn’t expect.

  15. Journal Identify three movies in which the background weather or environmental conditions served as subtext to character interactions. (Note: Films in which natural disasters are the central conflict don’t count!)