Goals & Guest Bloggers

It was my goal to write more on my blog this year...and my efforts have trailed off here at the end of the semester.  I also wanted my posts to have more substance--which is a goal I believe I have achieved.

Yet, as 2017 is nearly upon us, I'd like to make sure I post more often--and reach my goal of having more student participation on the blog.  This semester I taught a Studies in Literature and Film course, and I had hoped to have some student-written posts--or at least some reviews.  I didn't ever invite students to write, so that is something that I hope to accomplish next semester.

However, I have selected some student writing (reviews of the foreign language film Life is Beautiful) to share here.  I hope you have a wonderful winter break--one filled with constant reminders that Life is Beautiful.

Life is Beautiful gracefully tells a sentimental tale of love against adversity, and ultimately, human spirit. The film encompasses the Holocaust, but chooses not to embrace it with sheer negativity. Life is Beautiful is a fantastically endearing story, capturing the audience with its simplistic values of hope and familial love.

First introduced is Guido, the comically clumsy but quick-on-his feet protagonist. On numerous occasions, coincidentally and intentionally, Guido encounters a woman called Dora. Through these surprise meetings the two build a relationship and become a family with the addition of their son Joshua. The dynamic is always light and humorous, even as Nazis subtly invade their town in Italy. Guido and Joshua, Italian Jews, are sent to a concentration camp, so Guido creates an elaborate game to protect his son from the horrifying truth about the Holocaust.

Life is Beautiful is set in grim circumstance, but the inextinguishable optimism projected by Guido maintains the film’s theme of love and spirit. On some occasions, the harsh setting is utilized to shift the mood to a more uplifting one. An example of this is when Guido announces his love for “Princess Dora” through the camp loudspeaker, typically used to blare German orders. In other cases, the situation is crudely exposed with an opposite effect. As Guido carries his sleeping son through the camp, he wanders up to a shadowy mass, and the fog slips away to reveal a towering pile of bodies. This serves as a barbarous reminder, to Guido and to the audience, that the Holocaust is not a game, after all. Guido is protecting Joshua from unthinkably brutal truths that he will not realize until years later, but to everyone else, it is terrifying reality.

Strong character development enables Guido, Dora, and Joshua to overshadow the disturbing backdrop of their story. When Guido and Joshua are forced into a concentration camp, attention is directed to the construction of a mythical game, drawn up to distract the audience as much as Joshua from the horrors of war. Guido’s contagious energy and humor outweighs German oppression throughout the film, guiding the plot to the very end where innocent Joshua is reunited with Dora. Life is Beautiful thematically concentrates on familial love and sacrifice to combat cruel injustice and shield Joshua from the Holocaust.

Rating: ★★★★/5

            Foreign films never used to interest me; maybe it’s because I didn’t want to put in effort to read the subtitles and watch the cinematography at the same time. After watching Life is Beautiful, I kind of fell in love. Italian is such a beautiful language, and that’s part of the reason I loved watching this movie. I have never seen such a funny yet serious actor as Roberto Benigni. His personality just makes me want to find him and hug him! Life is Beautiful is now one of my favorite films.

Life is Beautiful is about an optimistic and lighthearted Italian-Jewish man and his family who are taken to a Concentration Camp during World War II. Their only child, Joshua, is too young to understand what is going on. Guido, played by Roberto Benigni, tries to protect his son from knowing creating games and making the most out of the situation.

This movie is definitely in my “Top 10 Films” list. I loved it so much, mainly due to the optimism and quirky personality of Guido. No matter what happened, he somehow made it positive. For example, when asked by Nazi Soldiers if anyone spoke German, Guido volunteered to translate into Italian, even though he had no idea what they were saying, all to protect his young son from knowing the real truth of where they went and why. Guido and Joshua played this game the whole time they were prisoners in the concentration camp, up to the day they were saved. Joshua found his father exhausted and carrying loads of iron up several flights of stairs. When asked what he was doing, Guido played it off and said he was helping make the first place prize for the winner of the game; a tank. Both of these examples, amongst plenty of others, help justify how great this movie and this actor is. Life is Beautiful was definitely a beautiful movie.

5/5 Stars

Annotating a Text (The Great Gatsby)

I still haven't found the best way to help students engage in a text through annotation--but I keep trying!

Every student has his own personal preference: some like to write directly in the book; some like to take notes in a notebook or reading journal; others still want to log those notes in digital format.  Personally, I want to write directly in my book.  The ability to have my note directly next to the text I'm pondering is a method that most makes sense for me.  However, our students don't currently have the ability to do this unless they purchase their own books.  This is a rare choice for my students.  Our school provides books from our textbook/novel library.  Books are checked out to students, and the books are expected to be returned in excellent condition.

You return your book in subprime condition (let alone with "Check marks, asterisks, and exclamations points rain[ing] down along the sidelines."  Thank you, Billy Collins) and the librarians be like:






So...students take to a variety of methods:







Given the situation, I would probably elect to do what the student above did: use post-it notes on the pages.

But--methods aside--let's talk about what students actually write.  Usually, I try to give them some sort of guide to focus their notes.  In this case, we focused on the following Learning Targets for the unit overall:

I can explain how an author's structure is important to the meaning of the text (through comparing the exposition and resolution of the story and other methods).

I can pick a specific paragraph and sentences and explain how that sets a mood for the paragraph.

I can identify the literary devices used to contribute to the overall meaning of the book.

I can identify the personality of the characters, explain the plot, the setting, and how the characters interact with each other—and provide textual support for my ideas.

Then, students were encouraged to focus their annotations on those topics.  Overall, I'd say their annotations and thinking about the text were excellent.  Students are writing their Literary Analysis essays today and tomorrow--so we'll see if that method of note taking & thinking paid off in their writing.  

Blended to the Extreme

Recently, thanks to the excellent organizational skills of fellow teacher KK, our Film classes viewed a film at a local movie theatre.  We watched The Arrival, and thanks to the kindness of the employees at the theatre, we were able to spend some post-movie time discussing what we had just watched.  The film was rich with cinematography, sound, and other visual delights to discuss.  Most students liked the film, and it certainly provided us with a lot to discuss beyond just the filmmaking level.  What an intricately developed story!  So fun to discuss the plot on this one!  With few exceptions, students said that they would strongly recommend seeing this movie to their fellow classmates who were unable to attend.

Getting ready for post-discussion:
     


KK working her magic:
   




Schmitt's Scholars:





For my fellow teachers:
I've been reflecting about how to best facilitate a post-discussion in this environment:
1.  Should I view the film first (without them) so that I can create questions to discuss afterwards?
2.  Should I create q's on the fly (I could...) and share them via social media, so all of the students have the questions in front of them--and then discuss from there?
3.  Would it be better to host the discussion in a separate space because movie theatre seats don't allow for the best collaborative discussions?
4.  Would it be better to attend a weekend matinee? Easier to chat afterwards? (This was at 9:00 pm--after a 7pm movie)
5. This was a great opportunity to Blend classes.  We've got THREE sections of my classes represented, plus multiple sections of KK's classes and TW's, too!  What a great opportunity to meet with other students who are learning and working on the same concepts--in a different setting, with different people.
6.  I should work on getting students to Guest Blog.  They could write their Film Review, and I could share it here!
7.  Other ideas?  Share them with me at englishschmitt@gmail.com or @englishschmitt on twitter.

Analyzing Sound in Film

Our class began analyzing sound by reviewing some basic sound topics in our textbook:

 
 


Students reviewed topics such as Visible and Invisible Sound, Soundtracks, Score, Dialogue, Sound Effects and more.

We then analyzed different film clips, focusing on the information we learned from the text.  We viewed films such as Braveheart, Saving Private Ryan, Almost Famous, and more.

To analyze a full film for its sound qualities, we watched The Hurt Locker.  Students are now crafting their culminating analyses that focus on these two standards:

CCSS.ELA-LITERACY.W.11-12.2
Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

CCSS.ELA-LITERACY.W.11-12.2.D
Use precise language, domain-specific vocabulary, and techniques such as metaphor, simile, and analogy to manage the complexity of the topic.

I can't wait to see what they've created!

Back Lighting in Film....and a Sidewinder

On my way to school today, the day we are discussing back lighting in the Lit & Film class, I saw this:



At the top of the hill, a lone figure (a la The Exorcist) was lurching in the back lit fog.  A bit creepy?  I think so.

But things perked up by third period when it was time for the Soccer Super-Sectional Champs Sidewinder!  How's that for alliteration?

Check it out here:

https://youtu.be/V-29nebufag

Poets Get Creepy

To celebrate Halloween--and to work on how word choice affects mood and tone--students wrote "creepy translations" of original, published poems.  Check on these horrifying versions of Dream Deferred, Sonnet 18, Spring and All, and more!

DON'T TAKE EITHER ROAD

TWO roads diverged in a yellow wood,

And sorry I could not make it

And as I stare into the void, long I stood

And looked down as far as I could

To where they lurk in the shadows;

Then took the other, bright and cheery,

And having perhaps the better claim,

Because it was grassy and wanted wear;

But had a false sense of welcoming

That was bringing me closer and closer

And both that morning equally lay

In leaves no step had trodden black

Oh, I kept the first for another day!

Hearing the voices and seeing the sights

The yellow wood transforming at night

I shall be telling this with a warning

Somewhere ages and ages hence:

Two roads diverged in a wood, and I-

I took the one less traveled by,

And that has made all the difference

How to Eat a Poem by Eve Merriam

Don't be polite.

Bite into his flesh.

Pick him up with your fingers and lick the red juice that

may run down your chin.

He is ready and ripe now, whenever you are.

You do not need a knife or fork or spoon

or plate or napkin or tablecloth.

For there is no core

or arm

or leg

or heart

or organ

or skin

to throw away.

One Death

BY ELIZABETH BISHOP

The art of killing isn’t hard to master;

so many things seem filled with the intent

to be killed that their loss is no disaster.

Kill  someone every day. Accept the fluster

of lost friends, the hour well spent.

The art of killing isn’t hard to master.

Then practice killing farther, killing faster:

strangers, and families, and who it was you meant

to travel with. None of these will bring disaster.

I lost my mother. And look! my last, or

next-to-last, of three loved siblings went.

The art of losing isn’t hard to master.

I lost two friends, lovely ones. And, vaster,

some realms I owned, two dogs, a cat.

I miss them, but it wasn’t a disaster.

—Even losing you (the joking voice, a gesture

I love) I shan’t have lied. It’s evident

the art of losing’s not too hard to master

though it may look like (Write it!) like disaster.

Dead Body

What happens to a dead body?

Does it dry up in the sun?

Or fester like a sore?

Is  the culprit on the run?

Does it stink like rotten meat?

Or crust and sugar over--

like a syrupy sweet?

Maybe it just sags

like a heavy load.

Or does it explode?

A Zombie’s Guide

Don't be polite.

Bite in.

Pick it up with your fingers and lick the blood that

may run down your chin.

Bite into the flesh of the most delicious one

They are ready and ripe now, whenever you are.

You do not need a knife or fork or spoon

or plate or napkin or tablecloth.

For there is no sympathy for their feelings

or family or friends

or heart

or insides

or hands

or skin.

All that matters is your hunger.

Satisfy it.

The Devil Will Know

Rain will fall again

on your smooth paved tomb

a light breeze like

Your last breath of air

The breeze and the dawn

will diminish again

when you return from the underworld,

as if beneath your step.

Between bones and blood

the demons will know.

There will be other days,

there will be other voices.

You will scream alone.

The demons will know.

You will hear chants

old and powerful and demonic

like the dead  left over

from yesterday’s sacrifice

You too will make signals

You’ll answer with beggs

Followed with laughter

you too will die

The demons will know.

and the light rain

and the dried blood

that belongs to the heart of the devil

who hopes no more of you—

Welcoming you with a  sadistic smile

As yours turns upside down

There will be other days,

other voices and chants.

At the end of 666 minutes,

You will suffer for eternity

DaysEnd

She wanted a little room for thinking:

but she saw skins steaming

on the line,

A doll slumped behind the door.

So she lugged a chair behind

the garage to sit out the

children's endless naps

Sometimes there were other things to watch--

the pinched armor of a vanished cricket,

a floating maple leaf.

Other days she stared until she

was assured when she closed

her eyes she'd only see her

children’s blood.

She had an hour, at best,

before Liza appeared pouting from

the top of the stairs.

And just what was mother doing

out back with the field mice?

Why, only, tying a knot.

A very special knot.

Later that night when Thomas

rolled over and lurched into her,

the rope fit perfectly.

She would open her eyes

and think of the place that was hers

for an hour--where she was nothing,

pure nothing, in the middle of the day

SONNET 18

Shall I compare thee to a horror film?

Thou mysterious and bone tingingling:

A figure stalking, waiting, and ready to scare

And autumn’s lease hath all too short a date:

Sometimes too cold the eye of hell lingers,

Possessed, psycho, and unforgiving ;

And victim to victim will scourge in pain,

By chance, or to escape;

But thy eternal autumn will stay

Nor gain possession ;

Death shall encounter thou’s soul,

When in all eternity this is fate;

The figure will always continue to torture thou victims,

So long lives this, and no life to thee

The first victim

By the road to the contagious hospital

under the surge of the blue

[lies a densely acquainted graveyard]

mottled clouds driven from the

northeast—a cold wind. [bellow over it]

Beyond, the waste of broad, muddy fields

brown with dried weeds, standing and fallen

patches of standing water

[a man mourns his wife]

the scattering of tall trees

All along the road the reddish

purplish, forked, upstanding, twiggy

stuff of bushes and small trees

with dead, brown leaves under them

leafless vines—[with the life sucked out of them]

Lifeless in appearance, sluggish

dazed spring approaches—

[the zombie hand breaks the silence]

They enter the new world naked,

cold, uncertain of all

save that they enter. All about them

the cold, familiar wind—

Now the grass, tomorrow

the stiff curl of wildcarrot leaf

One by one objects are defined—

It quickens: clarity, outline of leaf

[it has started]

But now the stark dignity of

entrance—Still, the profound change

has come upon them: rooted they

grip down and [they] begin to awaken

[the man makes no attempt to escape]

[he accepts his new fat, he wants it]

[the zombies swarm him like bees]

[he is the first victim.]

Eating:

I love to go out in late September

among the fat, overripe, children

to eat them for breakfast,

the hairs very prickly, a penalty

they earn for knowing the black art

of cannibalism; and as I stand among them

lifting the limbs to my mouth, the ripest ones

fall almost unbidden to my tongue,

as words sometimes do, certain peculiar words

like squeezed and squinched,

many-lettered, cyst-like lumps,

which I squeeze, squinch open, and splurge well

in the silent, startled, icy, black language

of cannibalism in late September.