Cat (Conclusion) & Film Vocabulary

We will conclude our viewing of Cat On A Hot Tin Roof.

Please learn the following basic film vocabulary.

Shot: How much subject matter is included within the frame of the screen.
In general, shots are determined on the basis of how much of the human figure is in view. Additionally, a shot is also an unedited strip of film, recording images from the time the camera starts to the time it stops.

Types:

1. extreme long shot - taken from a great distance, almost always an exterior shot; shows much of the setting or locale. They serve as spatial frames of reference. Used where locale plays an important role. (Historical, epics, westerns, etc.)

2. long shot (proscenium shot) - About the distance one would be from the theatre stage to the audience. Usually includes complete human form to a distance less extreme than the ELS.

3. Full shot - Fits the whole human form in the frame of the camera.

4. Medium shot - Usually contains a figure from the knees or waist up. It is useful for shooting exposition scenes, for minor movement and for dialogue.
A. Two shot (two people in the shot, usually from waist up)
B. Three shot (three people crowded in the shot)
C. Over the shoulder (focal point is the person the viewer can see, shot over another character's "shoulder" to show POV

5. Close up - Usually a person’s face (or neck and shoulders). Concentrates on a relatively small object. Elevates the importance of small details, often symbolic.

6. Extreme close up - Focuses on a very small item. The item usually fills the frame. Used to elevate importance of small details; again, often symbolic.

7. Deep Focus Shot (wide angle shot) - A long shot with many focal distances. Shot captures objects at close, medium and long ranges simultaneously.

Camera Movement Shots

8. Pan, panning shot: (short for panorama), a revolving horizontal movement of the camera from left to right or vice versa.

9. Tracking shot, trucking shot, dolly shot: A shot taken from a moving vehicle. Originally tracks were laid on the set to permit a smoother movement of the camera.

10. Crane shot: A shot taken from a crane (mechanical arm) which carries the cinematographer and the camera to move in any direction, vertical or horizontal.

Cat on a Hot Tin Roof: Film Studies

As we move into our film unit, please watch Tennessee Williams' Cat on a Hot Tin Roof. This will conclude our readings of Tennessee Williams' work (at least in class).

For those of you interested, check out these other Williams' films:

Baby Doll (1956)
Suddenly Last Summer (1959)
The Roman Spring of Mrs. Stone (1961) This was taken from Tennessee Williams' novel.
Sweet Bird of Youth (1962)
Night of the Iguana (1964)

Most of Williams' plays (as well as his films) revolve around a central secret: something terrible or haunting or degenerate that a protagonist desperately tries to cover up. Williams' women are often unhappy, the men brutish and insensitive. Oh, where will it lead but to modern American drama!

We can learn a lot about playwriting from Tennessee Williams. A character in pain or conflict lies at the center of his plays. The use of a "secret" allows appropriate tension and rising conflict until a climactic scene reveals the truth. Learn from this.

The Glass Menagerie Quiz & Draft #2 10-minute play

7th period, please finish The Glass Menagerie or finish your revisions to your 10-minute play. Turn in BOTH drafts of your play script (I will keep these in your portfolios for your mid-term exam).

8th period: Glass Menagerie quiz & discussion.

HOMEWORK: None (unless you have not completed your second draft of your 10-minute play--please finish and turn in late next class).

10-Minute Script Draft #2 & The Glass Menagerie

If you haven't done so yet, please turn in your Streetcar reviews.

7th period: please revise and work on your play script drafts. If your group agrees you may go on to period 8.

Period 8: Please get into the following groups:

A. Carolyn, Nora, Briyanna, Kaisean, Gabriela
B. Emily, Haris, Madeline, Temielle, Gus
C. Harrison, Angela R., Desire, My, Samantae
D. Hannah, Angela B., Mariah, Shannon, Gracie
E. Erin, Cassidy, Ashley, Taylor, Donyel

Together in your group, please begin reading The Glass Menagerie aloud. As you read, consider Tom's role in the play as "narrator" and the idea that what we are seeing is a reflection of his memory, not the actual events themselves. This technique is lovingly called a MEMORY PLAY.

Characteristics of Memory Plays:

1. Often use a "narrator" or "first person" character to tell the story.
2. Memory is tenuous and therefore set pieces or props, costumes, setting are representative or use synecdoche.
3. Scenes and characters are atmospheric and subjective. We are getting the narrator's (often the protagonist's) opinion and view of other characters, events. Thus, the style of a memory play is often EXPRESSIONISTIC.
4. Not exactly realism (which strives to present all facts realistically and objectively) the memory play allows for a vivid expression to suggest meaning (metaphor, for example).

HOMEWORK: Please complete your reading of the Glass Menagerie. There will be a test on the play next class.

Streetcar, Glass Menagerie, Tennessee Williams, Play Draft #2

Take the first twenty minutes of class to complete your play review/critique.

A review is made up of an introductory paragraph (3-5 sentences about the history of the play: who wrote it, when was it first produced, who originated the roles, and what are the major themes of the play.) The body starts with a paragraph summarizing the play's plot. In 3-5 sentences describe what happens in the play from beginning to end. The next body paragraph discusses characters, themes, or stage effects. For each, state your opinion and qualify it with an example from the play. Lastly, to conclude, answer: should a person attend this play? Is the play likely to be an interesting one to view live? Why or why not?

Then take the next ten minutes of class to view this video clip from the film version of A Streetcar Named Desire. Then watch these scene clips:
Scene Nine
Scene Ten
Scene Eleven

We will discuss A Streetcar Named Desire in class today. Afterward, we will be picking up the next play we will be reading: The Glass Menagerie, also by Tennessee Williams.

When we arrive back from the library, please get into the following groups:

A. Carolyn, Nora, Briyanna, Kaisean, Gabriela
B. Emily, Haris, Madeline, Temielle, Gus
C. Harrison, Angela R., Desire, My, Samantae
D. Hannah, Angela B., Mariah, Shannon, Gracie
E. Erin, Cassidy, Ashley, Taylor, Donyel

Together in your group, please begin reading The Glass Menagerie aloud. As you read, consider Tom's role in the play as "narrator" and the idea that what we are seeing is a reflection of his memory, not the actual events themselves. This technique is lovingly called a MEMORY PLAY.

Characteristics of Memory Plays:

1. Often use a "narrator" or "first person" character to tell the story.
2. Memory is tenuous and therefore set pieces or props, costumes, setting are representative or use synecdoche.
3. Scenes and characters are atmospheric and subjective. We are getting the narrator's (often the protagonist's) opinion and view of other characters, events. Thus, the style of a memory play is often EXPRESSIONISTIC.
4. Not exactly realism (which strives to present all facts realistically and objectively) the memory play allows for a vivid expression to suggest meaning (metaphor, for example).

HOMEWORK: Not done with your review? Complete it. Hand it in late next class. Also, please continue working on your second draft of your 10-minute play. The second draft is not due yet, but will be next week. Always finding yourself behind in the class?--Do yourself a favor and work on the play draft over the weekend.

10-Minute Play, Draft 2

Today, please work on your second draft of your script. See the post below for specific details. No, really. Read Monday's post. Then revise your work.

10-Minute Play Script Draft #2

Today, after we take a little "field trip" with your play script drafts, we will return to the lab to work on draft #2.

In draft #2 (please make sure you mark your draft as draft #2) please try the following:

1. Plays are about characters and ideas. Characters themselves often represent an idea. Stanley for example represents brutish, masculinity. Blanche DuBois, then, represents fading (and fragile) femininity. Thus, when the two characters meet, they create conflict for each other.

Make sure your idea is clear (what is it that you want to say about the human condition). Examine characters for their effectiveness in presenting your point. Like a good debate, the argument should not be one-sided.

Advice about characters: Always ask yourself if you would like to spend hours in rehearsal playing this part. If the answer is no, give that character more interesting or challenging characterization.

Add background and details that help characterize your characters. Add and develop ideas.

2. Effective dialogue moves the plot forward, while also providing important characterization.

Think of your dialogue as being comprised of what are called BEATS. These are short exchanges of dialogue between characters similar to paragraphs in a story. As each paragraph moves the story forward, so should your beats move the action of the play. Beats can also be used as transitions between subjects or topics, and they can create suspense. Think of them as building blocks. The more you build, the higher your castle.

Examine your draft and evaluate your beats. Take them one at a time. Draw a line after each one. Each beat should increase the tension and tempo of your play leading ultimately to your climax. (i.e., your most dramatic beats should swell like a wave. In our case, by the end of the play script, your point of highest tension should be more tense than the beginning or middle.)

3. Plays are performed for an audience. Do you think your audience is getting what they paid for? Always think about keeping your audience happy when writing a play. Dramatic plays need to be intense--much more intense than film. The name of the game is conflict.

Use the time given to you in the lab to work on your second draft.

HOMEWORK: Please complete A Streetcar Named Desire. You will be writing a play review for this play during Friday's class.