Wednesday, September 29, 2010
Thursday, September 23, 2010
Conferences are next week...
My office is in Landscape Architecture, Room 5
You're welcome (and encouraged!) to use the ISU Writing Center as well...
Writing Center
300 Carver Hall-
http://wmhc.isucomm.iastate.edu/
Fall 2010 Hours (Starting Mon., Aug. 30)
Monday 10:00 am - 3:00 pm
Tuesday 9:00 am - 2:30 pm
Wednesday 9:00 am - 5:00 pm
Thursday 9:00 am - 5:00 pm
Friday 1:30 pm - 4:30 pm
Saturday Closed
Sunday Closed
About the Writing and Media Help Center:
The Iowa State University Writing and Media Help Center provides a comfortable environment wherein ISU scholars from any discipline can collaborate with trained consultants to explore and develop self-awareness and self-sufficiency with written, oral, visual, and electronic communication.
Consultants will help you with any stage of your composing process, from brainstorming and researching to content development and proofreading. We do not proofread or “fix” papers for you, nor do we create or edit media projects for you, but we will help you learn how to proofread and assess the effectiveness your own work, whether it is a website, oral presentation, essay, or lab report.
Consultants in the Writing and Media Help Center work with you according to our core value that composing and critical thinking work together to create a meaningful education. With this value in mind, we collaborate with you to examine how to compose effective documents, and to help you improve your facility with any type of communication.
writectr@iastate.edu
10 Things You Didn't Know About College Grading
10 Things You Didn't Know About College Grading (from US News)
November 04, 2009 04:43 PM ET Lynn F. Jacobs, Jeremy S. Hyman Permanent Link Print
Given how concerned most students are about grades, it's amazing how little they know about how grading is done. Actually, it's not so amazing. Universities go to great lengths to hide—or at least not disclose—facts about grading that anyone who's taught at a university for more than a year knows. Want a peek? Read on.
1. It's 10 minutes—and then on to the next. You might think that your grader will spend half an hour to an hour grading each student's piece of work. Not so. Unfortunately, given that an instructor might have a stack of 30, 40, or even 70 papers or tests to grade, he or she has only about 10 minutes to devote to each piece of graded work. This is why you should make your claims clearly and forcefully, avoid any irrelevant or unnecessary material, and take the trouble to really explain your points.
2. The grading is often outsourced. In large classes at large colleges, the professor giving the lecture is rarely the one who does the grading. Instead, there is usually a cadre of low-paid grad students who do the grading. You might know the grad student as the TA running your discussion section. But your grader might also be an unseen and unnamed person who has been hired only to grade the written work, with no other duties in the course. Some professors actively manage the grad student or grader, going over sample papers and setting a grading scale. But other professors are happy to delegate the whole job to the underling and never set eyes on student work.
3. It's not as subjective as you think. While it's easy to see how grades are assigned on "objective" tests (like multiple-choice or short-answer tests), it's tempting to think that the grading of essays or papers is just a matter of opinion. But if you were to actually read a set of 50 essays on the same topic, you—and anyone who knew the material—could see right away that there is a wide range of levels of quality in the answers. For professors who have been teaching the material, it's extremely easy to distinguish the essays from students who show an excellent understanding of the issue from those who sort of get the point and those who have no idea what they're talking about—and to assign the grades accordingly. Sure, the professor down the hall might see the same set a bit differently, but it's not likely that this other prof is going to find the D essay any more illuminating than the one who gave a D in the first place.
4. A's are often in short supply. At most colleges, despite what you might have heard about grade inflation, professors give about 10 percent to 25 percent A's in introductory classes and perhaps 30 percent to 50 percent in more advanced courses.
5. Grading usually is not a zero-sum game. In classes where the grading is curved, your grade is in fact determined by your position relative to other students in the class. But curves are not used in all that many classes. Most liberal arts students don't see them that often. So relax—the reason you didn't get an A is not because your friend stole the last available A. It's just that the level of your work didn't merit one.
6. First impressions count. Since your grader is working fast and trying to make a quick decision about what grade to give, nailing the main point in the very first paragraph creates a feeling of satisfaction in the grader. This sets the essay on the path to an A. Keeping the grader in suspense about when—and if—you're ever going to answer the question, or, worse, larding your essay with bull, very quickly inclines the grader to a C.
7. Last impressions count. Your conclusion is the last thing your grader reads before slapping the grade on at the bottom, so whatever you do, don't end with excuses or explanations of why you did such a bad job. This only confirms the grader's judgment that the essay wasn't really all that hot. Just summing up what you've said is OK, but a far better idea is to bring out some new point of even deeper significance or draw an unexpected connection—that's ending with a bang. And you'll likely get a bang-up grade.
8. Effort isn't taken into account (usually). In college, you are generally graded on the product you produce, not on how hard you worked to produce it. Students have a lot of trouble grasping this, which is why professors regularly hear complaints from students unhappy about getting a bad grade on something they worked "really hard" on. Professors have no trouble dismissing such complaints, since they're not in the effort-assessment business (and couldn't be, even if they wanted to).
9. There aren't usually do-overs or extra credit. In most courses, the professor has
his or her hands full with the regular work and isn't looking to allow students with bad grades to rewrite their papers for a better grade. They're also not likely to offer the chance to do extra work for extra credit. So try to do it right from the first.
10. There's no real court of appeals. Sure, most colleges have official procedures
for disputing a grade, but grades rarely get changed. It usually happens only if there is some serious procedural irregularity (such as incorrectly adding up the points, failing to read a page of the answer, or not following policies on the syllabus or the college rules). Arguments that almost never work include: My friend wrote the same paper but did better than I; another TA grades easier; and the assignment wasn't fair. If you haven't gotten the grade you wanted, it's best just to suck it up, then ask the professor or TA how you can do better next time.
© Copyright 2009 Professors' Guide LLC. All rights reserved.
November 04, 2009 04:43 PM ET Lynn F. Jacobs, Jeremy S. Hyman Permanent Link Print
Given how concerned most students are about grades, it's amazing how little they know about how grading is done. Actually, it's not so amazing. Universities go to great lengths to hide—or at least not disclose—facts about grading that anyone who's taught at a university for more than a year knows. Want a peek? Read on.
1. It's 10 minutes—and then on to the next. You might think that your grader will spend half an hour to an hour grading each student's piece of work. Not so. Unfortunately, given that an instructor might have a stack of 30, 40, or even 70 papers or tests to grade, he or she has only about 10 minutes to devote to each piece of graded work. This is why you should make your claims clearly and forcefully, avoid any irrelevant or unnecessary material, and take the trouble to really explain your points.
2. The grading is often outsourced. In large classes at large colleges, the professor giving the lecture is rarely the one who does the grading. Instead, there is usually a cadre of low-paid grad students who do the grading. You might know the grad student as the TA running your discussion section. But your grader might also be an unseen and unnamed person who has been hired only to grade the written work, with no other duties in the course. Some professors actively manage the grad student or grader, going over sample papers and setting a grading scale. But other professors are happy to delegate the whole job to the underling and never set eyes on student work.
3. It's not as subjective as you think. While it's easy to see how grades are assigned on "objective" tests (like multiple-choice or short-answer tests), it's tempting to think that the grading of essays or papers is just a matter of opinion. But if you were to actually read a set of 50 essays on the same topic, you—and anyone who knew the material—could see right away that there is a wide range of levels of quality in the answers. For professors who have been teaching the material, it's extremely easy to distinguish the essays from students who show an excellent understanding of the issue from those who sort of get the point and those who have no idea what they're talking about—and to assign the grades accordingly. Sure, the professor down the hall might see the same set a bit differently, but it's not likely that this other prof is going to find the D essay any more illuminating than the one who gave a D in the first place.
4. A's are often in short supply. At most colleges, despite what you might have heard about grade inflation, professors give about 10 percent to 25 percent A's in introductory classes and perhaps 30 percent to 50 percent in more advanced courses.
5. Grading usually is not a zero-sum game. In classes where the grading is curved, your grade is in fact determined by your position relative to other students in the class. But curves are not used in all that many classes. Most liberal arts students don't see them that often. So relax—the reason you didn't get an A is not because your friend stole the last available A. It's just that the level of your work didn't merit one.
6. First impressions count. Since your grader is working fast and trying to make a quick decision about what grade to give, nailing the main point in the very first paragraph creates a feeling of satisfaction in the grader. This sets the essay on the path to an A. Keeping the grader in suspense about when—and if—you're ever going to answer the question, or, worse, larding your essay with bull, very quickly inclines the grader to a C.
7. Last impressions count. Your conclusion is the last thing your grader reads before slapping the grade on at the bottom, so whatever you do, don't end with excuses or explanations of why you did such a bad job. This only confirms the grader's judgment that the essay wasn't really all that hot. Just summing up what you've said is OK, but a far better idea is to bring out some new point of even deeper significance or draw an unexpected connection—that's ending with a bang. And you'll likely get a bang-up grade.
8. Effort isn't taken into account (usually). In college, you are generally graded on the product you produce, not on how hard you worked to produce it. Students have a lot of trouble grasping this, which is why professors regularly hear complaints from students unhappy about getting a bad grade on something they worked "really hard" on. Professors have no trouble dismissing such complaints, since they're not in the effort-assessment business (and couldn't be, even if they wanted to).
9. There aren't usually do-overs or extra credit. In most courses, the professor has
his or her hands full with the regular work and isn't looking to allow students with bad grades to rewrite their papers for a better grade. They're also not likely to offer the chance to do extra work for extra credit. So try to do it right from the first.
10. There's no real court of appeals. Sure, most colleges have official procedures
for disputing a grade, but grades rarely get changed. It usually happens only if there is some serious procedural irregularity (such as incorrectly adding up the points, failing to read a page of the answer, or not following policies on the syllabus or the college rules). Arguments that almost never work include: My friend wrote the same paper but did better than I; another TA grades easier; and the assignment wasn't fair. If you haven't gotten the grade you wanted, it's best just to suck it up, then ask the professor or TA how you can do better next time.
© Copyright 2009 Professors' Guide LLC. All rights reserved.
Peer Response Questions
Peer Response Questions
1. Does the introduction give the scene context? If not, how could it be improved?
2. What does the writer state as the director’s/film’s claim? Does the claim take into account the larger conflicts contained within the film?
3. Write the sentence(s) that you consider the thesis. Is it arguable? Is it specific? Does it forecast the elements of the scene that the writer plans to analyze? How could the thesis be improved?
4. Focus: How well does the writer stay on track? Where does the writer go off-track, or include information that does not move the paper forward?
5. Does the writer give enough concrete details of the scene? Where could the writer be more specific about visual/auditory elements to deepen his/her analysis?
6. Does the writer break down the visual/auditory elements to specifically analyze what purpose they serve? If not how could they improve? What suggestions do you have?
7. Does the writer connect that analysis back to the thesis? (Please circle/highlight/or note all the places where the writer fails to make these connections)
8. Is the paper well-organized? Does each paragraph contain a clear focus and supporting information? Are there forecasting and transitional sentences to help guide the reader?
9. Are there any parts of the essay that are confusing or that need more details/explanation?
10. What did you like about the draft?
11. What are the weaknesses of the draft? How can the writer improve the weak areas?
What your paper should do:
(Note—these are assignment requirements—if you fulfill the basic requirements of the assignment you will receive a “C” on the paper. Should you not fulfill these requirements you will receive a “D” or lower. “A” and “B”-level papers go beyond the basics, approaching the assignment with in-depth thought, careful consideration, and a more sophisticated writing style—however they still need to contain all the assignments “basic” elements.)
Introduction:
-Places the scene in context
-States the director’s claim
-Has a clear, arguable, forecasting thesis
Body Paragraphs:
-organized around a specific scene element or directorial strategy
-includes very specific visual/auditory evidence to the scene
-connects each example back to the strategy/author’s larger thesis
-includes a transition/summary sentence
Conclusion:
-Summarizes the content of the paper
-Resituates the scene within the larger context/director’s intent
(Note: An A or B conclusion does more that this…)
DO NOT: (think C paper or [most likely] below….)
-summarize the film
-include personal reactions to the film
-copy/paste your thesis statement into your conclusion
-use “You” (/second person)
-overuse “to be” verbs (is , was, were, etc)—USE NO MORE THAN 1 PER PARAGRAPH
DO: (think B papers and above, if done well)
-Use size 12 Times New Roman Font, double-spaced
-Include your rough draft and peer response sheet
-Use as much visual/auditory evidence from the film as is appropriate, your detailed description of your scene will serve as the evidence of your paper
-Use strong verbs, descriptive language
-Remember the content of the course while writing your paper, feel free to (i.e. please do) discuss the depiction of environment in the context of what we’ve read or discussed in class (this may be an appropriate thing to include in your conclusion or introduction)
-Discuss the relationship between character and environment
-Treat the American Landscape as a character or major element of the film
Reminders:
Conferences in my office, LA 5 next week!
BRING YOUR DRAFT, your peer feedback, and your questions/ideas
Casey Land field trip-October 9
Final draft of your papers due October 5
1. Does the introduction give the scene context? If not, how could it be improved?
2. What does the writer state as the director’s/film’s claim? Does the claim take into account the larger conflicts contained within the film?
3. Write the sentence(s) that you consider the thesis. Is it arguable? Is it specific? Does it forecast the elements of the scene that the writer plans to analyze? How could the thesis be improved?
4. Focus: How well does the writer stay on track? Where does the writer go off-track, or include information that does not move the paper forward?
5. Does the writer give enough concrete details of the scene? Where could the writer be more specific about visual/auditory elements to deepen his/her analysis?
6. Does the writer break down the visual/auditory elements to specifically analyze what purpose they serve? If not how could they improve? What suggestions do you have?
7. Does the writer connect that analysis back to the thesis? (Please circle/highlight/or note all the places where the writer fails to make these connections)
8. Is the paper well-organized? Does each paragraph contain a clear focus and supporting information? Are there forecasting and transitional sentences to help guide the reader?
9. Are there any parts of the essay that are confusing or that need more details/explanation?
10. What did you like about the draft?
11. What are the weaknesses of the draft? How can the writer improve the weak areas?
What your paper should do:
(Note—these are assignment requirements—if you fulfill the basic requirements of the assignment you will receive a “C” on the paper. Should you not fulfill these requirements you will receive a “D” or lower. “A” and “B”-level papers go beyond the basics, approaching the assignment with in-depth thought, careful consideration, and a more sophisticated writing style—however they still need to contain all the assignments “basic” elements.)
Introduction:
-Places the scene in context
-States the director’s claim
-Has a clear, arguable, forecasting thesis
Body Paragraphs:
-organized around a specific scene element or directorial strategy
-includes very specific visual/auditory evidence to the scene
-connects each example back to the strategy/author’s larger thesis
-includes a transition/summary sentence
Conclusion:
-Summarizes the content of the paper
-Resituates the scene within the larger context/director’s intent
(Note: An A or B conclusion does more that this…)
DO NOT: (think C paper or [most likely] below….)
-summarize the film
-include personal reactions to the film
-copy/paste your thesis statement into your conclusion
-use “You” (/second person)
-overuse “to be” verbs (is , was, were, etc)—USE NO MORE THAN 1 PER PARAGRAPH
DO: (think B papers and above, if done well)
-Use size 12 Times New Roman Font, double-spaced
-Include your rough draft and peer response sheet
-Use as much visual/auditory evidence from the film as is appropriate, your detailed description of your scene will serve as the evidence of your paper
-Use strong verbs, descriptive language
-Remember the content of the course while writing your paper, feel free to (i.e. please do) discuss the depiction of environment in the context of what we’ve read or discussed in class (this may be an appropriate thing to include in your conclusion or introduction)
-Discuss the relationship between character and environment
-Treat the American Landscape as a character or major element of the film
Reminders:
Conferences in my office, LA 5 next week!
BRING YOUR DRAFT, your peer feedback, and your questions/ideas
Casey Land field trip-October 9
Final draft of your papers due October 5
Tuesday, September 21, 2010
Tuesday September 21
http://www.studio360.org/episodes/2007/09/14/segments/85349
What does Sean Penn suggest his intent might be?
Do you agree?
What visual themes did you notice throughout the movie? What might they suggest?
How would you finish the sentence: "Into the Wild" is a film about____________?
Thoreau:
What similarities do you see between Thoreau and Chris McCandless?
Homework:
-Rough Draft Visual Analysis Due next class period
-“A First American Views His Land,” by N. Scott Momaday, p. 570
Thursday, September 9, 2010
Scene Groups
Please Sign Up for one using the "comment" function:
Scene Groups:
Emory University
Begins with graduation. Ends
with sister catching cap.
_____________________
_____________________
_____________________
_____________________
_____________________
On the Road
Begins with McCandless clipping
ID. Ends with car flood.
____________________
_____________________
_____________________
_____________________
_____________________
Beach
Begins with "I'm afraid of water."
Ends with beginning of campfire scene.
____________________
_____________________
_____________________
_____________________
_____________________
South Dakota
Begins with "I just figured
he'd be with gypsies."
Ends with the fade out.
____________________
_____________________
_____________________
_____________________
_____________________
City/Shelter Scene
Begins with jumping off train.
Ends at Chapter 5: Manhood.
____________________
_____________________
_____________________
_____________________
_____________________
Magic Bus: Week 7
Begins with title "Magic Bus: Week 7"/McCandless carrying game.
End with Holy Moses, WA sign.
____________________
_____________________
_____________________
_____________________
_____________________
Mountains
Begins with standing on mountain.
Ends with "It's OK to Waste Fries" sign.
____________________
_____________________
_____________________
_____________________
_____________________
Magic Bus: Week 9
Begins with title "Magic Bus: Week 9"/Eagle soaring.
Ends with McCandless arriving at river.
____________________
_____________________
_____________________
_____________________
_____________________
September 9
Go over "Into the Wild" Assignment.
Watch "When the Levy's Broke."
In groups: Chose a scene and discuss how that scene contributes to Spike Lee's thesis.
Consider the following:
• use of visuals (people, places, objects, etc.)
• use of audio (narration, quotes, music, etc.)
• pace and tone
• types of emotional appeals meant to persuade the viewer
• the way the character interacts with his environment
Discuss/Share Poems
Homework:
-From Walden; or, Life in the Woods, by Henry David Thoreau, pp. 9-25 (Journal)
What a College Level Essay Should Do
What a College Level Essay Should Do:
From The University of Purdue OWL website:
First Paragraph/Introduction:
The introduction is the broad beginning of the paper that answers three important questions:
1. What is this?
2. Why am I reading it?
3. What do you want me to do?
You should answer these questions by doing the following:
1. Set the context – provide general information about the main idea, explaining the situation so the reader can make sense of the topic and the claims you make and support
(The context for an ad analysis paper might include details like
-the source of the advertisement [ie the magazine where you found it]
-the magazine’s target audience,
-Background on the product/company
-A basic visual description of the ad)
2. State why the main idea is important – tell the reader why s/he should care and keep reading. Your goal is to create a compelling, clear, and convincing essay people will want to read and act upon
3. State your thesis/claim – compose a sentence or two stating the position you will support
If your paper is long, you may want to forecast how you will support your thesis by outlining the structure of your paper, the sources you will consider, and the opposition to your position. Your forecast could read something like this:
First, I will define key terms for my argument, and then I will provide some background of the situation. Next I will outline the important positions of the argument and explain why I support one of these positions. Lastly, I will consider opposing positions and discuss why these positions are outdated. I will conclude with some ideas for taking action and possible directions for future research.
This is a very general example, but by adding some details on your specific topic, this forecast will effectively outline the structure of your paper so your readers can more easily follow your ideas.
Body Paragraphs
Body Paragraphs: Moving from General to Specific Information
Your paper should be organized in a manner that moves from general to specific information. Every time you begin a new subject, think of an inverted pyramid - the broadest range of information sits at the top, and as the paragraph or paper progresses, the author becomes more and more focused on the argument ending with specific, detailed evidence supporting a claim. Lastly, the author explains how and why the information she has just provided connects to and supports her thesis (a brief wrap up or warrant).
The four elements of a good paragraph (TTEB)
A good paragraph should contain at least the following four elements: Transition, Topic sentence, specific Evidence and analysis, and a Brief wrap-up sentence (also known as a warrant) – TTEB!
1. A Transition sentence leading in from a previous paragraph to assure smooth reading. This acts as a hand off from one idea to the next.
2. A Topic sentence that tells the reader what you will be discussing in the paragraph.
3. Specific Evidence and analysis that supports one of your claims and that provides a deeper level of detail than your topic sentence.
4. A Brief wrap-up sentence that tells the reader how and why this information supports the paper’s thesis. The brief wrap-up is also known as the warrant. The warrant is important to your argument because it connects your reasoning and support to your thesis, and it shows that the information in the paragraph is related to your thesis and helps defend it.
Conclusions
Conclusions wrap up what you have been discussing in your paper. After moving from general to specific information in the introduction and body paragraphs, your conclusion should begin pulling back into more general information that restates the main points of your argument. Conclusions may also call for action or overview future possible research. The following outline may help you conclude your paper:
In a general way,
• restate your topic and why it is important,
• restate your thesis/claim,
• address opposing viewpoints and explain why readers should align with your position,
• call for action or overview future research possibilities.
Remember that once you accomplish these tasks, unless otherwise directed by your instructor, you are finished. Done. Complete. Don't try to bring in new points or end with a whiz bang(!) conclusion or try to solve world hunger in the final sentence of your conclusion. Simplicity is best for a clear, convincing message.
The preacher's maxim is one of the most effective formulas to follow for argument papers:
1. Tell what you're going to tell them (introduction).
2. Tell them (body).
3. Tell them what you told them (conclusion).
From The University of Purdue OWL website:
First Paragraph/Introduction:
The introduction is the broad beginning of the paper that answers three important questions:
1. What is this?
2. Why am I reading it?
3. What do you want me to do?
You should answer these questions by doing the following:
1. Set the context – provide general information about the main idea, explaining the situation so the reader can make sense of the topic and the claims you make and support
(The context for an ad analysis paper might include details like
-the source of the advertisement [ie the magazine where you found it]
-the magazine’s target audience,
-Background on the product/company
-A basic visual description of the ad)
2. State why the main idea is important – tell the reader why s/he should care and keep reading. Your goal is to create a compelling, clear, and convincing essay people will want to read and act upon
3. State your thesis/claim – compose a sentence or two stating the position you will support
If your paper is long, you may want to forecast how you will support your thesis by outlining the structure of your paper, the sources you will consider, and the opposition to your position. Your forecast could read something like this:
First, I will define key terms for my argument, and then I will provide some background of the situation. Next I will outline the important positions of the argument and explain why I support one of these positions. Lastly, I will consider opposing positions and discuss why these positions are outdated. I will conclude with some ideas for taking action and possible directions for future research.
This is a very general example, but by adding some details on your specific topic, this forecast will effectively outline the structure of your paper so your readers can more easily follow your ideas.
Body Paragraphs
Body Paragraphs: Moving from General to Specific Information
Your paper should be organized in a manner that moves from general to specific information. Every time you begin a new subject, think of an inverted pyramid - the broadest range of information sits at the top, and as the paragraph or paper progresses, the author becomes more and more focused on the argument ending with specific, detailed evidence supporting a claim. Lastly, the author explains how and why the information she has just provided connects to and supports her thesis (a brief wrap up or warrant).
The four elements of a good paragraph (TTEB)
A good paragraph should contain at least the following four elements: Transition, Topic sentence, specific Evidence and analysis, and a Brief wrap-up sentence (also known as a warrant) – TTEB!
1. A Transition sentence leading in from a previous paragraph to assure smooth reading. This acts as a hand off from one idea to the next.
2. A Topic sentence that tells the reader what you will be discussing in the paragraph.
3. Specific Evidence and analysis that supports one of your claims and that provides a deeper level of detail than your topic sentence.
4. A Brief wrap-up sentence that tells the reader how and why this information supports the paper’s thesis. The brief wrap-up is also known as the warrant. The warrant is important to your argument because it connects your reasoning and support to your thesis, and it shows that the information in the paragraph is related to your thesis and helps defend it.
Conclusions
Conclusions wrap up what you have been discussing in your paper. After moving from general to specific information in the introduction and body paragraphs, your conclusion should begin pulling back into more general information that restates the main points of your argument. Conclusions may also call for action or overview future possible research. The following outline may help you conclude your paper:
In a general way,
• restate your topic and why it is important,
• restate your thesis/claim,
• address opposing viewpoints and explain why readers should align with your position,
• call for action or overview future research possibilities.
Remember that once you accomplish these tasks, unless otherwise directed by your instructor, you are finished. Done. Complete. Don't try to bring in new points or end with a whiz bang(!) conclusion or try to solve world hunger in the final sentence of your conclusion. Simplicity is best for a clear, convincing message.
The preacher's maxim is one of the most effective formulas to follow for argument papers:
1. Tell what you're going to tell them (introduction).
2. Tell them (body).
3. Tell them what you told them (conclusion).
Into the Wild Visual Analysis Assingment
Assignment 1:
Visual Analysis: Into the Wild
DUE TUESDAY OCTOBER 5
“[Chris McCanless] discovered what Muir and Thoreau already knew: An extended stay in the wilderness inevitably directs one’s attention outward as much as inward, and it is impossible to live off the land without discovering both a subtle understanding of, and a strong emotional bond with, the land and all it holds.”-Author John Krakauer
“I ended up reading [Into the Wild] cover to cover twice in a row..then got up the next day and began pursuing the rights to [direct the movie]…I felt like I’d stumbled upon a story that had everything that I was looking for, everything I thought was worth telling, not the least of which was the American landscape…and a person using it to find their own authenticity.”
-director Sean Penn
Both author John Krakauer and filmmaker Sean Penn see the American wilderness as being a major character, if not the major character in Chris McCandless’s story. Taking into account the different ways we’ve seen the American landscape portrayed in readings and visuals—I want you to examine the director decisions made in the film Into the Wild in terms of their portrayal of “place.” You will be assigned a scene in the film to analyze and expected to pay close attention to how places is depicted in your scene and what that depiction suggests about the filmmaker’s intent. You final analysis should be approximately three to five pages. It should include both what you see as the director’s “claim,” and your own thesis about how the director conveys his message. You will use evidence from your scene to support your thesis.
Planning/Prewriting
Once you’ve been assigned your scene in the film, pay close attention to the details of that scene and the way the landscape has been depicted in the scene. How does the director portray place? How does this representation contribute to the film’s overall thesis?
Jot down notes while we watch the film.
Consider the following:
• use of visuals (people, places, objects, etc.)
• use of audio (narration, quotes, music, etc.)
• pace and tone
• types of emotional appeals meant to persuade the viewer
• the way the character interacts with his environment
• where your scene falls in the film and how the setting contributes to the film’s overall narrative
Overarching questions to keep in mind: What is being framed? What is the director choosing to show? What is the director choosing not to show?
Evaluation Criteria for the Essay
The visual analysis should
• orient the reader by identifying the scene’s place in the movie, the director’s “claim,” and your thesis in the introduction
• refer to very specific visual and audio details as evidence
• organize each paragraphs around strategies used by the director to portray “place” in your scene
• avoid errors that distract the reader's attention
• address the ethical dimensions of the film’s depiction of place and its impact on the movie’s plot
• be specific, analytical, and comply with the standards of “what a college level analytical essay should do”
THIS IS NOT A PLOT SUMMARY OF THE FILM.
Tuesday, September 7, 2010
September 7
Image from Spike Lee's Katrina documentary "When the Levees Broke"
In class: Opening Journal: What aspects of Patricia Smith's writing resonated with your own experiences of the environment and of place? Smith's writing is loaded with sensory details that fleshes out New Orleans as a place--making the disaster that occurred there all the more tragic. Think about key experiences you've had of tragedy and environment. Write a snapshot of that experience.
Alternative: Write a snapshot of an environmental experiences, using the level of sensory detail Smith employs as a model.
________________________________________________
Blood Dazzler Discussion:
(Cayla Bullerman, Samuel Carlson)
Thinking about visual rhetoric: What are the implications of how we represent a place?
-Detroit--"Ruin Porn"
Look at the images from Time Magazine--http://www.time.com/time/photogallery/0,29307,1882089_1850980,00.html
-With a partner: Chose one image--what is being framed? What is the photographer's thesis?
“Telling Their Stories: The Lingering Legacy of the Hurricane Katrina Photographs” is the title of a new exhibit at the Ogden Museum in New Orleans. The exhibit is an emotional and moving retrospective of the powerful images made in the aftermath of Katrina.
Do you see the Hurricane Katrina photographs as similar to the Time Magazine Detroit photos? Different? Would it make a difference that the photographers come from New Orleans? What does that mean for Patricia Smith as an outsider? What gives someone license to write or photograph a place?
-In a group of two: Pick one image from one of the galleries (Time or the New Orleans exhibit) and analyze the visual rhetoric of it? What is the photographer's thesis? How is he/she framing it? (Comment on blog)
_______________________________________________
Blood Dazzler Discussion:
-Break into small groups, pick and discuss a favorite poem from the readings so far to share with the class.
-Discuss: What is a poem? What can a poem do? What formal qualities define a poem? How would you replicate what Smith does.
-Discuss: What is a poem? What can a poem do? What formal qualities define a poem? How would you replicate what Smith does.
_______________________________________________
Homework:
-Imitate one of Patricia Smith's poems integrating your own experience of place, disaster, home, or loss
-Blood Dazzler, by Patricia Smith, second half. (Journal)-JOURNALS COLLECTED
Thursday, September 2, 2010
September 3
Opening class journal: How did reading "The Clan of the One Breasted Woman" change your perspective on Terry Tempest Williams? How did you notice the tone of the piece changing to fit the content? What effect did this have on you as a reader?
OR
What was your reaction to Eula Biss? How did you feel about her representation of the floods/Iowa? Was she fair? If you are from Iowa, how would you have represented the same event/environment?
Into the Wild: Trailer:
Homework: Blood Dazzler, by Patricia Smith, first half (Kayla Hagen, Katie Hiatt)
Prosody Patricia Smith:
(Listen to podcast via laptop)
Film activity:
Consider the following---
What is being framed? What is the director choosing to show?
•Use of visuals (people, places, objects, etc.)
•Use of audio (narration, quotes, music, etc.)
•Pace and tone
•Types of emotional appeals meant to persuade the viewer
•Use of visuals (people, places, objects, etc.)
•Use of audio (narration, quotes, music, etc.)
•Pace and tone
•Types of emotional appeals meant to persuade the viewer
•The way the character interacts with his/[her] environment
Into the Wild: Trailer:
Into the Wild - Official Trailer from Anne Luchtenveld on Vimeo.
Homework: Blood Dazzler, by Patricia Smith, first half (Kayla Hagen, Katie Hiatt)
“Place,” by WS Merwin, p. 716, “The Summer Day,” by Mary Oliver, p. 737
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