Week 12: Implementing Film

Upon reading my early blogs, I am amazed at how much my views of using “media” in the classroom have changed since day one. A lot of that change has come from the broader definition I have come to have for media; it is more than just “news,” as I originally liked to think.

Having come from a high school in which “films” were shown only when a sub was in, or a free day was needed, I was hard pressed to find real benefits to showing movies, especially pop culture programs such as “The Simpsons” or “Clueless,” as part of an English curriculum. (Except of course to give the students and teacher a break in the learning process, which is needed now and again as well). However; based on the readings, discussions I’ve had with group members, and other people’s weekly modules, I now see where there can be a use and even a benefit for these types of lessons.

One of the early assignments that started to change my mind was the “Critical Analysis,” assignment in which we looked at a film through 7 different critical lenses. Although it was one of the harder assignments, and would likely need to be more generalized or simplified for middle school to high school students, it really causes the student to take a different look at the things they see every day on TV or the movies. Although we chose to do ours on the “Cool Canuck” commercial, I believe that it can also be used for films, documentaries, and television programs.

For example, many people have discussed “Shakespeare” in this final assignment. I too agree that because of the language alone, Shakespeare’s works are well suited to be taught coinciding with their film counterparts. However; I think that film adaptations should be shown as segments, coinciding to the particular section that is being read and discussed in class. This is where “Critical Analysis” comes in. Of course, the 7 different approaches would have to be discussed in an earlier class, but for the purpose of this assignment, I would divide the different approaches amongst pairs of students and have them view the film segments (likely from both an older, and more modern film adaptation of works like Romeo and Juliet and Hamlet), through a specific critical lense. I would then have them compare their interpretations between the text and both film versions, and then use class discussion to further elaborate on their findings.

Evaluation of this assignment would likely be based mostly on participation and depth of answers, as there really is no right or wrong way of viewing through these lenses. Perhaps I would have the students actually write a one to two page essay on their interpretations, but again, it would be graded mainly on the depth of their answers, their understanding of the concepts, and elaboration of their thoughts.

Another activity that I would take away from this class, and I have been an advocate of it since day one, is the use of TV news, newspapers, radio, and the internet to study current events. An assignment that I would really like to use in a classroom is having students study a specific story for a week or two across the news mediums. I think that the webquest I created, although it would need to be elaborated upon, would be a great tool to promote this assignment. Upon implementing a webquest into the curriculum, I would also like to eventually have students create their own and work through them, though not necessarily involving current events.

I would likely have my students write up a 5 to 10 page report on their findings here. Again, the grade would be based on depth of findings and elaboration on thoughts…as well as grammar, punctuation and all the fun English stuff.

Week 10: Documentary

Once again, my journalism back ground allows me to tackle this assignment from a slightly different perspective, as I have actually already been invovled in the process of creating a documentary. As part of a documentary class at Minnesota State Moorhead, we created "Reunion At Rollag," a half-hour look into the Western Minnesota Steam Threshers Reunion. Check out my webpage at:

http://www.tc.umn.edu/~dollx030/ReunionatRollag2.htm

We chose this as the topic of our because of the wide array of sights, sounds, and stories we would be able to present. The program was aired several times on PBS in western Minnesota and parts of North and South Dakota. It also just recently won first place in the student documentary category at the Society of Professional Journalists annual awards banquet.

Our intended message was to show the audience exactly what it is like during this Labor Day weekend celebration. Along with steam threshers, the reunion also showcases antique tractors, provides threshing, corn chopping, and field work demonstration, has a parade that runs up Rollag's main street twice a day, steam powered train and boat that can give rides, a steam powered working sawmill, merry-go-round, flour mill, printing press, miniature land, and much more. Many Rollag visitors and volunteers also stay up until the wee hours of the morning, coming together to sing and tell stories in one of the numerous buildings.

In order to capture the realities of these events, a variety of shots, interviews, and natural sound were needed. By using match cut editing, as well as long, medium, close, and ultra-close shots, we were able to show exactly how these exhibits worked, and how people were able to enjoy them. The use of natural sound also places the audience in the midst of the action. Perhaps most importantly; however, was the way we used interviews from specific people about specific events that really personalized the Rollag experience.

We tried to interview as many different people as possible, including those running the steam powered equipment and those who came strictly for the pure enjoyment. One particularly interesting interview consisted of a father and son who were operating the sawmill since its original owner and long time friend of theirs passed away in 2002. Another interstice perspective was from the farmer from Canada, and his friend he convinced to join him on the trip, knowing he wouldn't be disappointed. Perhaps the most interesting story was the couple who got married at noon on "Steamer Hill." Rollag was such an important part of their lives, that they wanted to make their special day a part of it. These and many stories like them really personalized the reunion for the audience, playing on many emotions and using more than just a "broad brush" of the event.

The most difficult, but also the most fun and challenging aspect of this documentary was finding those specific stories that made the documentary more personal. Also, being beginning journalists, technical issues such as capturing sound and getting white-balanced, focus footage also was in play.

Week 9: Analysis of Channel 5 Eyewitness News at 5:30

I watched the Sunday, April 2nd Channel 5 News at 5:30. The breakdown of stories follows.



(Reader = Anchor reads news with no video, VO = Anchor "Voice's Over" video, VOSOT = Voice Over Sound on Tape [interview], PKG = news package)

Opening Story: (regional) Anchors Introduced a reporter live at the scene of the flooding in Crookston, MN. He then pitched his package on the "voluntary evacuation" and the possible danger of any more flooding. = 2:30

Reader w/ Graphics: (regional) Pawlenty sends out National Guard to aid in flood relief. = :25

VO: (regional) Fargo homeowners taking flood danger too lightly. = :20

First Look Weather: (local) Tie in from Daylight Savings time. Heavy rain on the radar. Also mentioned no rain in Fargo at this time. = :55

VO: (local) Innocent mystery shooting victim identified

PKG: People react to shooting. Bouquet of flowers at scene. Random man on street weighs in. = 1:40

VOSOT: (local) Mayor walks downtown at night to show that it is safe (with plenty of security...) = :25

VOSOT: (??) Train slips off track to to Caustic Soda = :40

Reader w/ Graphic: Caustic Soda is explained = :10

PKG: (local) Car misses exit ramp on 494 and ends up in pond. Drunk driver flees scene, no one else in vehicle. = 1:10

VOSOT: (local) Missing Rochester woman and son not found in Montana. = 1:00

VOSOT: (local) First Lady helping military families. = :40

TEASERS = 1:00

Break 1

VO: (national) Reporter Jill Carrol Back Home. = :25

VOSOT: (local) Fridley Family escapes fire, doesn't know where to go now. = :30

VOSOT: (local) Minnesotans finally get home from Jamaica after NWA cancelled flights due to mechanical problems. People's reaction. = :40

VO: (local) Peta protestors outside of KFC. = :30

VOSOT: (local) Minnesota students at science fair. = :40

WEATHER: = 3:30

ABC Teasers: New episodes of Desperate Housewives and Grey's Anatomy. Also teased 10 o'clock news and sports. = 1:55

Break 2

Highlights: (local) Detroit RedWings come to Minn. to take on Wild. = :35

Highlights: (local) Wolves vs. Warriors. Wolves win in OT = :40

VOSOT: (local) Twins opener coming up on Tuesday. = :35

VO: (national) Phil Mickelson wins Bell South. = :25

Close: :30

Analysis

This is not the first time that I have been asked to sit down, log the different segments of the news, and give my analysis. This is also not the first time that I felt that television news performed far below par.

It is my belief, and it has been defined in my media text books, that the purpose of the news media SHOULD be to "provide the public with the information they need to be free and self-governing." However, with its hyper-local content, the temptation of "compelling video," and the drive for ratings, most TV news stations fall short of that goal. Most often, they fill us full of sensational, unimportant tidbits or let us know about every fire or car accident in the metro area.

Besides during the rush hours, this is news that is likely of no use to the average citizen. However, since it oftentimes comes with compelling video, people are drawn to it anyway.

Sunday night's Channel 5 Eyewitness news at 5:30 was no exception. After subtracting commercials, teases, sports, and weather, the half-hour broadcast only produced approximately 11 minutes and 45 seconds of "news." Of that nearly 12 full minutes, nearly four minutes was filled with interesting video of unimportant events such as a house fire, a man driving into a lake, a science fair, and a Peta protest outside of KFC. Now while there may have been a real story behind all of these events, Channel 5 just used the video to give a broad swipe of what was going on.

Obviously, TV news uses compelling video and witty, oftentimes misinterpreted writing to attract viewers. By keeping a majority of their stories under 40 seconds, TV news creates an atmosphere of excitement and urgency, and can throw a variety of different things at the audience. The packages that are over 40 seconds need to make an even better use of video, natural sound, and narration to keep the eyeballs there. That is why most of these packages are done as cutesy "features;" fun stories with great video and sound, but often not very important.

After all, the more viewers the news can bring to a station, the more the station can charge for advertising, meaning the more money the station makes. So while the purpose of the news media should be to "provide the public with the information they need to be free and self-governing," it in all actuality provides them with video that will get them to "stay tuned," and hopefully catch the advertisements.

Week 8: Built Ford Tough

I chose to create a spoof of the Ford truck ad which I analyzed that was found in the latest issue of "ESPN the Magazine." (analysis below) Ford, with their motto, "Built Ford Tough," tries to play on gender roles, showcasing the kind of tough truck that a man's man would want to drive. These ads try to be representative of Ford trucks alleged strength and power over the competition. My message is a play on the concept of what a man's man is, and what he wants his truck to be. Instead of the authorizing, hard working, boat pulling truck owner, maybe a real "man's man" is the couch sitting, hoops watching, beer guzzling, grocery store runner.

This type of ad would be found in magazines oriented around 18-40 year old males. Since sports, car, and girlie magazines always advertise two things; cars/trucks and beer, obviously, a real man's man is going to want a truck that can handle his love of alcohol. The "Best In Class PartyLoad" is a play on words of Ford's always toutable "Best In Class Payload." (I used the "skunky" line and the Molson's beer as kind of an inside joke referring back to the Joe Canada commercial...not really relevant, but I thought it was funny.)


Ad Analysis

The ad I chose to analyze was a two-page spread for Ford Trucks on the inside front cover and first page of the latest "ESPN the Magazine". Since ESPN the Magazine is an oversized publication, the ad is very large, and is also the first thing you see when you open it up. However, despite the size of the ad, it lacks a lot of specific detail. In fact, the only image spreading the two oversized pages is a speed bump on a road that has been crushed over by tires, leaving only tracks and a crumbled impression through either side of the bump. The bottom right of the ad has the words, "BEST IN CLASS PAYLOAD. 2006 FORD SUPER DUTY" the web address, fordvehicles.com, and the logo "Built Ford Tough."

If you were to look at this ad critically, you might think that it is strange that the product that is being advertised isn't even in the ad. Traditionally, one might think that it would be hard to sell a product that isn't described or even shown in its advertisement. In today's ad world; however, the play on emotion, gender roles, and sexuality can have a far bigger influence than a bunch of boring details, specs, and even pictures of the product itself. One reason this type of advertising is possible amongst the current generation of consumers is the advent of the internet. Those who want detailed information on a product are directed to its website, where they can find almost anything they want to find.

In this ad, the crushed concrete represents the strength of Ford's Super Duty trucks. Ford is trying to portray an image consistent with their motto, "Built Ford Tough." They are marketing to the "man's man." It's target audience is the sports loving, beer drinking, dude who is made to think he needs an oversized tough truck that can pull his imaginary 30 foot fishing boat, or haul a load of bricks or scrap metal...just in case he might need to do it one day. This demographic is usually the 18 to 45 year old male. These types of ads target this group by showing up in sports, car, and girlie magazines.

Now don't get me wrong, there is a demographic that needs a truck like this, namely, the rural farmer. Having grown up on a farm and seen the abuse that vehicles are put through on a daily basis, you really do need a tough truck. My dad actually owned a Ford F-250 which he really did use to haul scrap metal and pull his horse trailer. However, Ford knows that for the most part, it has its share of those drivers. I mean, besides Chevy or Dodge, the farmers don't really have another choice, now do they? So, Ford then spends their time trying to convince the 18-40 year old city dweller that they need a truck like this to show that they are a man.

This ad and ones similar to it invite men to believe that their truck is an extension of their masculinity. I mean, comewouldn't real man's man wouldn't be caught dead driving a mini-van, would he? Of course not. So no matter how much gas the Ford F-millimpracticalles, and how unpractical it is to drivedoesn'tnd Minneapolis, it doesn't matter because it can crush speed bumps, and that means you are the man....damnit.

Week 4: Critical Analysis

In order to better understand the seven different critical approaches of media studies and to help organize my thoughts, I will begin with a short summary of the key points of each approach.

1. Rhetorical/Audience Analysis

When using this approach, students are asked to examine how a media text uses “language, signs and images” to attempt to conform audiences to certain beliefs. In other words, when using this approach, one is trying to understand how the media is making its target group(s) identify with one another and the product.

2. Semiotic Analysis

If using the Semiotic lens, students would try to understand the “social and cultural meaning of signs and codes. Signs are defined by the relationship between the signifier (the sign itself), the signified (what the sign is supposed to mean), and the referent (the action that the signifier intends to cause). Most often, these three corners of the triangle can be interpreted drastically different from culture to culture. Codes are used to define broad conventions (such as beauty, happiness, etc…), that can mean many different things to different people. Again, the way codes are interpreted can vary greatly between cultures.

3. Poststructuralist Analysis

Poststructuralist Analysis refers to the practice of examining how “language categories” can influence characters and the audience. For example, categories such as love and hate, or good and evil are not always easily defined as one or the other; however, many times stereotypes of what these things are “supposed” to mean come into play. Postructuralists examane the limitations of these stereotypes and sites evidence to their contradiction.

4. Critical Discourse

This type of analysis studies and tries to identify the “underlying ideological forces” that cause a character to take a certain discourse (or broad ideological view) when perceiving reality and the world around them. These discourses can also permeate to the audience, causing them to adopt the same views if they feel “connected” to a character. Law, medicine, religion, business, education, farming, etc…are all broad discourses that people may use as leverage when viewing their surroundings. Class, race, and gender are discourses than can have a variety of discourses (class = high, middle, working / race = black, white, Hispanic, Asian, etc… / gender = man, woman, boy, girl, gay, straight) within themselves.

5. Feminist Criticism

When viewing a media text through this lens, a student would try to examine how the text is portraying women, and how these portrayals have changed over time. They also try to dispel any myths regarding gender identification.

6. Postmodern Theory

Postmodernists often challenge the beliefs of modernists, who believe that traditional literature, art, film, etc…will lead to “progress, truth, human improvement, high art, science, and technology - …leading humans to a greater sense of happiness and fulfillment.” Postmodern films do not follow the traditional constructs of time, plot, perspective, and reality. They also often draw from or poke fun at popular traditional texts.

7. Postcolonial Theory

This theory examines how and why the postcolonial world views the previously colonized portions of the world as “other, non-Western, backward, uncivilized, mysterious, undeveloped, primitive, and dangerous. Postcolonialists argue that the reason these stereotypes continue in the modern media is that we still live in fear and uncertainty of these regions.

My Approach
Although I have never really thought about what type of lens I am viewing the media through before, I would have to say that after doing the reading, I am leaning more towards the “critical discourse analysis” lens. Often times, I will relate to a character or person because of their discourse. For example, maybe they grew up on a farm (like I did), or maybe they are struggling with their future (like I am). Even if a character does not relate to me or my life completely, there is almost always some discourse (athletics, religion, social life, etc…) that will cause me to relate, even if it is minimal, to the character or situation. Along those lines, I believe that the “Rhetorical/Audience Analysis” follows closely in the footsteps of CDA. Creators of media texts know that many individuals will relate to the discourses of their characters or product pitches, and thus will manipulate their message to make a large group conform to these beliefs.

Critical Analysis of “The Cool Canuck Award” found at http://www.coolcanuckaward.ca/joe_canadian.htm

1. When viewing the “The Cool Canuck Award” from a critical discourse analysis lens, one is able to identify several discourses. First is that of the Canadian. Throughout the commercial, Joe is giving the audience a lesson in exactly what a Canadian “isn’t.” The commercial is playing on the stereotypes that many Americans have for Canadians, such as them being a “distant cousin,” the differences in vernacular (about / aboot), and them being lumberjacks, fur traders, or living in igloos. The underlying ideological forces that drive this commercial are these stereotypes themselves. Joe wants people to realize that Canada is not the unwanted step-child. His clean look, perfect unaccented English, and enthusiasm for his country support this way of thinking.

A second discourse is that of the “bullied.” Joe standing up for himself and dispelling these myths about Canada will not only have Canadians relating to the situation, but also anyone who has been bullied in their life. Joe is showing that it is ok to back up what you believe in. These two discourses are creating a positive association to Joe and Canada, which the commercial then hopes will be equated with the Canadian beer, Molson….which brings me to the next approach.

2. Through the rhetorical/audience analysis lens, viewers are encouraged to think positive about Canada, thus conforming to a group that associates Canada as “its own man.” The creators of the commercial are then hoping that this positive association will be translated to the beer, and people will decide that maybe there are other choices than Miller or Budweiser.

3. Through a semiotic lens, people are presented with visual signs and images (beavers, lumberjacks, igloos, etc…) that they may have originally identified with Canada. While the visual codes are relating to and reinforcing the stereotyping of Canadians, (as well as adding a humorous visual to the commercial), the verbal codes are dispelling these stereotypes. The use of music and voice eventually overpower the visual code, just as the commercial is hoping the Canadian beer will overpower the American ideology. While Americans might view these images as humorous, another culture, such as Canada, may even take offense.

4. The poststructuralist approach would draw on the use of the language of “Canadian” and to a lesser extent, “American.” Although a straight comparison between the two is not being made, “American” is brought into the mix because that is the “audience” of Joe’s monologue. Even though the commercial is dispelling Canadian stereotypes, it is also stereotyping Americans, assuming that the vast majority thinks this certain way about Canadians.

5. If using the Feminist lens, one would probably argue for lack of the female perspective. Joe’s “aggressive” monologue is likely geared more towards the male viewer. The creators of this commercial are making the assumption that females do not drink beer anyway, so they don’t need to try to sell it to them. While Joe’s rant is almost entirely “masculine,” he does mention sewing, which would not normally be equated to the masculine perspective.

6. Through the postmodern lens, one can see how the commercial is breaking traditions. First, it is spewing the Canadian stereotypes back out towards those who created or believe them. A Canadian is basically “poking fun” at himself and his culture in order to try to dispel many of the myths surrounding them.

7. In this commercial, Joe is attempting to lesson the reach of America’s superiority complex. The superior feeling felt by many Americans and portrayed often in media texts is defined and viewed through the Postcolonial lens. As has been mentioned many times above, it is trying to dispel Canadian stereotypes in the form of a parody, and sell beer by identifying the new found “positive” feelings toward Canada with Molson.

Week 3 Scene Description, Techniques and Storyboards

Scene Description

The scene I chose to describe is the “Hard Knock Life” scene from Austin Powers Goldmember. The scene is approximately two minutes long and takes place (mainly) inside a prison cafeteria. The two main characters in the scene, Dr. Evil and Mini-Me enter the cafeteria, just recently having been “caught” by Austin Powers, and tell the group of prisoners that they have to create a distraction so the duo can escape out the front doors. Dr. Evil’s explanation then takes the form of a music video, where he and Mini-Me sing “Hard Knock Life.”

The scene begins with a low-angle, long shot of Dr. Evil and Mini-Me walking into the cafeteria. This is to represent their supposed “power” over these other “average criminals. It then straight cuts to a reaction shot of the criminals. These action/reaction shots continue as Dr. Evil proposed his plan. Most of them are eye level shots now, and alternate between long shots, medium shots, close-ups, and over the shoulder shots.

The “music video” portion begins with a low-angle, long shot of the entire prison brigade walking towards the camera, swaying back and forth…also, the background music begins, and Mini-Me and Dr. Evil provide the lyrics. A combination of quick edited long, medium, and close match-cut shots give the intro to the “music video” its up tempo feel, and is presented almost as a montage of shots. As it proceeds, a wide variety of shots and editing techniques are employed, including wide angle, fast zooms, and jump cuts. These techniques somewhat distort the picture and place the characters in unrealistic situations, adding to the humor of Dr. Evil’s rap lyrics. The music video reaches its peak of over the top hilarity when Dr. Evil and Mini-Me are cross-cut from the prison into stereotypical rap music video situations; complete with hydrolic cars, hood attire, bling bling, Flavor Flav clocks, Cristal, and as Dr. Evil refers to them…be-hotches.

Prior to the ending of the “music video,” all the shots had been straight cuts, but the video concludes with a wipe, bringing the viewer back to the reality of the situation. Also, it looks like the montage of justification worked, because all the criminals now see things Dr. Evil’s way.

Overall, the wide variety of shots, and the quick edits were used to entice humor. They put the characters in positions and situations that they physically could not have been in in real life. The music and dialogue served the same purpose.

Teaching Film/Editing Techniques

I believe that the techniques that were outlined in our two text – books gave great examples of how to teach film and editing. Before students are able to take a hands on approach, they need to understand exactly what it is they should be doing or looking for. I like what is presented in Kruegger and Christel about having them view a clip from a film and asking them to “analyze” it before informing them how to go about doing it. That way, you can see exactly how their minds are working when they are asked to analyze film. I also would integrate traditional “texts” in with the film studies, as was mentioned in the text. By matching a literary piece with a film that has the same themes, students would be able to easily recognize the different but equal effects the written word and moving images can both have, and how they are brought to life in different fashions. After the students have been taught the basics of film and editing (i.e., definitions of common terms, and shown numerous examples of how these terms are implemented), I would start some hands on approaches. One that I particularly find interesting is the “Soundscape” exercise, where students have to create a scene with little or no dialogue. With the power of moving images, people sometimes forget the importance of sound. I also liked the idea for collaborative works, where this “Soundscape” scene is then given to another student to produce a storyboard. This way, the original student would be able to see if their sounds had portrayed what he or she was hoping they would portray.

Storyboard

FedEx Superbowl Commercial - http://www.ifilm.com/superbowl?htv=12

Audio = A
Video = V

Shot 1 A
Wind blows, some kind of “squawking” sound is heard in the background. A quiet, ominous music plays in the background.

V
The camera begins to zoom into a medium one shot of a “caveman” dressed in fur, carrying a stick, walking up a hill. Snow covered mountains are seen in the background.

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Shot 2 A
Wind, squawking, and music continue.

V
Shot dissolves into a panning long shot of a dry, rocky, wasteland. The same snow covered mountains are still in the background.

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Shot 3 A
Wind is howling louder. The flying dinosaur let’s out a loud “squawk.”

V
Cut to a medium two shot of a large flying dinosaur and the caveman walking up the hill towards it.

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Shot 4 A
Wind, rustling.

V
Cut to a close up of the caveman’s arm tying a bone to the flying dinosaur’s leg.

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Shot 5 A

Wind, rustling.

V
Match cut to a medium shot of caveman’s upper body, kneeling down, tying the bone onto the dinosaur’s leg. Only its legs are visible.

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Shot 6 A
Wind, squawk, wings beginning to bat the air.

V
Match cut to a wide two shot of caveman beginning to stand up next to dinosaur.

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Shot 7 A
Wind, wings beating the wind.

V
Match dissolve of caveman “kicking” dinosaur to send it on its way.

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Shot 8 A
Wind, wings beating the wind.

V
Match dissolve to medium over-shoulder shot of caveman watching dinosaur fly off in a straight line away from the camera.

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Shot 9 A
Caveman yells a high piched “ohhhh…ohhhhh”

V
Cut to close up of caveman.

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Shot 10 A
Wings batting the air. T-Rex growls and teeth chomping.

V
Cut to tracking shot of flying dinosaur as it flys with the mountains in the background. Another dinosaur’s, (T-Rex), head comes from off screen below, and eats the flying dinosaur right from the sky and off the shot. Shot left with only mountains in background.

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Shot 11 A
Growls and rustling.

V
Cut to medium shot of caveman looking surprised and confused

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Shot 12 A
Loud growls.

V
Dissolve to medium shot of T-Rex tearing flying dinosaur apart.

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Shot 13 A
Growls, bone “clanks” to the ground.

V
Quick dissolve to high angle long shot (T-Rex’s perspective) of caveman, who watches the bone he attached to the flying dinosaur’s leg fall to the rocky ground beside him.

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Shot 14 A
Growl

V
Cut to low angle close up of caveman looking up towards T-Rex

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Shot 15 A
Caveman speak. “Oh, uh, woo boo”

V
Jump cut to over-shoulder medium shot of caveman walking into a cave. Another caveman sits with his back to the camera. The cave is dark, but the cave opening is lit by outside light. Words appear on bottom of screen; “Package didn’t make it.”

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Shot 16 A
Caveman speak. “Uh, wahay”

V
Cut to medium, eye level one-shot of second caveman, who looks very similar to the first caveman, sitting on the cave floor. Words appear; “Did you use FedEx?”

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Shot 17 A
Caveman speak. “Nunga”

V
Cut to over shoulder, low angle, medium shot of first caveman who shakes his head. Words appear; “No.

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Shot 18 A
Caveman speak. “Nu yuh uh”

V
Cut to medium shot, this time from the side, of the second caveman, who looks up. Words appear; “Then you’re fired.”

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Shot 19 A
Caveman speak. “High pitched squeals and clapping hands”

V
Cut to over shoulder, low angle, medium shot of first caveman who is visibly upset. Words appear; “But FedEx,” First caveman jumps and claps. Words dissolve into “doesn’t exist yet.”

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Shot 20 A
Caveman speak. “Nu, uh wah nay, unga”

V
Cut to high angle shot of second caveman. Words appear; “Not my problem.”

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Shot 21 A
Scoff, sighs.

V

Dissolve to over – shoulder, low angle, medium shot of first caveman who turns to his left and scoffs. Then turns in a circle to walk out.

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Shot 22 A
Footsteps, rustling.

V
Cut to long shot of first caveman standing outside of the cave entrance. Second caveman can be seen sitting in the background. A small dinosaur runs across the shot.

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Shot 23 A
Footsteps, rustling, thud of the kick. Small dinosaur squeals. Loud “bang” as caveman gets squashed.

V
Dissolve to even longer long shot, match cut of caveman walking away from the cave. He kicks the small dinosaur and then is crushed by the enormous feet of an unseen dinosaur who comes from off screen left.

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Shot 24 A
“Next time, use FedEx”

V
Cut to white screen with “FedEx” log in center.

This commercial used a combination of straight cuts and dissolves to help the sequence of events move forward. The over the shouldar medium and close up shots helped show action and reaction between the two cavemen. The overall theme of the commercial is humor and surprise. In two or three shots, large dinosaurs came from off the screen and added a humorous element of surprise.

Assignment 2 - Rational for Media Studies

As a prospective college educator in the field of communication and journalism, as opposed to a K – 12 teacher, I have chosen to take some liberty with this assignment.

One would think that no rational would be needed to justify using film, television, and media in college level Mass Communication classes; however, in my own undergraduate experience, a very important tool was not being utilized as much as it should have. That tool is the study of “important current events” in the news media itself (print, television, radio, and online). Granted, in my upper level journalism classes, we were always shown examples of “newscasts” or “news articles;” however, they were used mainly as teaching tools for shooting, reporting, and editing techniques, how to pick and chose sound bytes or quotes, and how to formulate a story to keep an audience interested, thus garnering ratings or readers. The important factor that was left out was how to determine what truly is “newsworthy” and important for citizens to know.

I believe that in today’s society, many news organizations have lost site of their true purpose; “to provide citizens with the information they need to be free and self-governing.” Therefore, journalism schools are changing their focus and training young journalists to become feature reporters so that they can jump right in to the money making pool of the Mass Media. Politics, world events, and all the “boring” real news are being shoved aside to make way for pieces on demolition derby’s, snow sculptors, and 10 minute biographies on the new anchor in town.



To corral this idea into a more general education approach, I believe that “important current events” should be taught or discussed at all levels of education, starting from grade school and continuing through college (even if you aren’t a communication major). By coming in contact with politics and world events at a young age, children may actually become interested in the subjects and remain engaged throughout adulthood.

An example of how this could be incorporated into a curriculum at almost any level would be to dedicate 15 to 20 minutes every morning to discuss the important things that happened in the news the previous day. A teacher could lead the discussion, especially at younger levels, and point out to students why these things are important and what kind of impact it has on their daily lives. To engage the students in discussion, one might ask them what they think about it (the topic), why they think it happened, or what they think could have been done to change it. Upper level students could be told to choose a topic of “importance” (a very subjective term) each week and follow it from Monday – Friday, giving a short summary followed by discussion at the end of each week. Students could then also be allowed to incorporate their findings into their own media, (i.e. news stories, commentaries, blogs/websites), so they could understand, to an extent, how the media itself works and why it is so important that the important messages be told. Although this would not tie directly to traditional subjects, it opens up avenues of critical thinking and research. Perhaps the “history” of a topic would need to be explored. Regardless, the use of the Mass Media to study current events would be a useful practice and would help in the educational development of all students; and hopefully be a skill that they would keep with them and use later in life.