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 “Short Subjects” is a resource book for 6th - 9th grade language arts teachers that has been developed in conjunction with middle school teachers who have used “Ed” in their classrooms.  The “Short Subjects” package includes the original Ed short story, the Ed screenplay, the film DVD and other materials.</div> <div> The following is the Table of Contents, Introduction and an excerpt from “Short Subjects.”</div> <bR> <div>       CONTENTS</div> <div>               </div> <bR> <div>               </div> <div>  Chapter                                                                          Page                                                  </div> <div> 1.     The Strategy Of Using Film To Teach Reading Skills  …...…………..    10</div> <bR> <div> a.    Applying Film Viewing Skills to Text</div> <div> b.    The Integration of Film Study into Language Arts Standards </div> <div> c.    Re-Read, Re-Watch, Reflect</div> <bR> <div> 2.     Teaching With Ed Meets His Maker   …………………………….…….  18</div> <bR> <div> a.    Pre-Viewing Strategies & Instructions</div> <div> b.    Active Viewing: Laying The Groundwork for Active Reading</div> <div> c.    Post-Viewing Discussion And Activities</div> <div> d.    Additional Activities for Motivated Students</div> <bR> <div> 3.    Screenplays & Literature: Common Story Elements    …………………  30</div> <bR> <div> a.    Plot</div> <div> b.    Characterization</div> <div> c.    Setting</div> <div> d.    Point of View</div> <div> e.    Theme</div> <div> f.    Symbolism, Irony & Suspense</div> <bR> <div> 4.     Screenwriting Basics  ……..………..………………………….....…....  50</div> <bR> <div> a.    The “Show, Don’t Tell” Rule</div> <div> b.    Dialogue and Economy of Words</div> <div> c.    Plot: Keeping It Simple</div> <div> d.    Story: The Hero’s Journey</div> <div> e.    Screenplay Three-Act Structure</div> <div> f.    The Structure of Ed</div> <div> g.    Conflict & Motivation</div> <div> h.    Keeping “Creative Writing” Creative</div> <bR> <div> 5.     Adaptation & Story Choices  .…….……………………………..….....…  71</div> <bR> <div> a.    Adapting The Voice of Ed</div> <div> b.    Addition by Subtraction: Scenes </div> <div> c.    Addition by Subtraction: Characters</div> <div> d.    Addition by Addition</div> <bR> <div> 6.    Film Production & The Creative Process ………………………..……… .  82</div> <div>   </div> <div> a.    Mise-en-scène </div> <div> b.    Framing The Shot</div> <div> c.    Camera Angles</div> <div> d.    Camera Movement</div> <div> e.    Lighting</div> <div> f.    The Director’s Vision </div> <bR> <div> 7.      Film Post-Production  ………………………………………….………   100</div> <bR> <div> a.    Editing Nuts & Bolts</div> <div> b.    Visual Effects  </div> <div> c.    The Rough Cut</div> <div> d.    Sound Editing </div> <div> e.    Final Post-Production</div> <bR> <div> 8.      The Use Of Music to Enhance Film  ………………………………....…  116</div> <bR> <div> a.    The Functions of Music in Film</div> <div> b.    Themes & Motifs</div> <div> c.    The Film Composer’s Role</div> <div> d.    Music in Short Films</div> <div> e.    Scoring Ed Meets His Maker</div> <bR> <div> 9.      Isolated Children  ……………....................................................………  127</div> <bR> <div> a.    Isolation Among Schoolchildren</div> <div> b.    The Isolated Albert LaChance</div> <div> c.    Learning Coping Strategies from Albert</div> <div> d.    The Teacher’s Role: Discussing Peer Relationships</div> <div> e.    The Teacher’s Role: Communicating with The </div> <div>         Individual Child</div> <bR> <bR> <div> APPENDICES  …………………………………………..………..…..……  138</div> <bR> <div> Appendix A.    Film Viewing Organizer</div> <div> Appendix B.    Tracking Questions & Connections Organizer                 </div> <div> Appendix C.    Film Elements Organizer</div> <div> Appendix D.    Film Synopsis</div> <div> Appendix E.    The World of Ed Meets His Maker</div> <div> Appendix F.    Willie Mays: The Greatest Baseball Player Ever?         .                      </div> <div> Appendix G.    Ed Meets His Maker Short Story</div> <div> Appendix H.    Ed Meets His Maker Screenplay</div> <div> Appendix I.    Film Festivals for Student Filmmakers</div> <div>  </div> <div>                                      </div> <bR> <div> Symbolism, Irony & Suspense.</div> <bR> <div> 1.     Symbolism.  As in literature, a symbol in film is an object, person, place or act that embodies a concept.</div> <div> When I was in junior high school, I knew that symbolism was a fraud.  I knew that symbols weren’t anything that writers actually thought of when they wrote, but rather something English teachers concocted later, and for the same reason they made us study literature at all—to torture us. (My thirteen-year-old mind could not have embraced the notion that a thematic message could be equally valid whether or not the author meant to send it.) </div> <div> I didn’t have the same problem with similes or metaphors.  I believed in them because I could see them, usually tipped off by the word “like.”  Indeed, that was the problem with symbolism; you can’t see it. </div> <div> The good news is that teaching symbolism with the visual medium of film can help students for whom seeing is believing.  In Ed, the symbol of Kevin’s baseball derives from a venerable tradition in American film where baseballs  and the institution of baseball itself are accorded symbolic significance.  The narration in Ed establishes the significance of the latter—Albert, we are told, learned all he could about baseball to try to gain acceptance in his new California home.      </div> <div> Texts can describe such symbols through narration and dialogue.  Films can do it in a myriad of other ways as well.  In Rear Window for example, we first see Grace Kelly as a shadow over Jimmy Stewart, symbolizing the shadow she casts over his life.  In Woody Allen’s Annie Hall (1977) a principal symbol is not visual at all, it’s auditory; the sound of the Coney Island roller coaster that is a metaphor for the noisy chaos of Woody Allen’s life. </div> <div> In Ed, the symbol of Kevin’s baseball can be analyzed to understand outer conflict.  Likewise, Albert’s Canadian flag provides a key to understanding inner conflict.  Students should consider the following analyses of these symbols and how the resolution of the related conflicts serves to establish themes. </div> <bR> <div> A.     Kevin’s Baseball.  Kevin’s ubiquitous baseball can be considered a talisman granting entry to the after-school baseball culture.  In a more universal sense, the baseball also represents the manner in which sports and other group activities can unite people.  </div> <div> We first see the ball being tossed in the air by Kevin as Albert approaches the bus stop with his funeral invitations (1:04:15).  The ball is then thrown among Kevin, Eggs and Matt, a circle of friends that conspicuously excludes Albert, until Eggs overthrows Kevin and the ball skips toward Albert.  But Albert muffs a chance to scoop it up, runs to retrieve it and then uncorks a wild throw past Eggs, earning him derisive laughter from the kids (1:05:00).</div> <div> Kevin is still seen flipping the ball to himself at the funeral.  But the symbolic payoff comes in the final scene when Kevin tosses the ball to Albert.  This time Albert catches it, the talisman works its magic and Albert gains admission to the world of the other kids.</div> <bR> <div> B.     Albert’s Canadian Flag.  Albert’s flag may be viewed as the cord that he must cut (or the “hatchet” that he must bury) before he can achieve closure on his father’s death.  We can trace Albert’s resolution of his inner struggle to achieve that closure by following the path of the flag, or to coin a brand new film phrase, “cherchez le drapeau!”</div> <div> We first encounter Albert’s flag in the opening pan around his room.  We see it again in the room the next afternoon when TJ fiddles with it, prompting Albert to scold him, “Be careful - it’s the only one I got!”  </div> <div> If we didn’t get it yet that the flag is precious to Albert (who directed this film anyway?) we know it for sure when the kids “pay their respects” at the funeral and TJ warns Eggs, “You’re not allowed to touch Albert’s flag!”</div> <div> As with Kevin’s baseball, there is a payoff; this one comes during the burial scene when Albert rips his beloved flag from its staff and buries it with Ed (1:11:56).  </div> <div> Could the flag signify something more?  Does it, as TJ advises Albert, guarantee that Albert’s father will be “treated good in Heaven?”  Or might it be a message Albert sends his father?  </div> <div> The short answer is that it performs whatever function for which a student who has actively and critically viewed the film can articulate an argument.     </div> <div> 2.     Irony.  Irony can be defined as words (“verbal irony”) or events (“irony of situation”) that demonstrate in a manner designed to draw attention to the truth, a discrepancy between appearance or expectation on the one hand and reality on the other.  </div> <div>      Irony is employed on two occasions in Ed.  The first is in the opening narration where we are told that except for Ed, Albert has no friends—other than TJ who “doesn’t count” because he is only seven.  </div> <div>      Actually, as discussed in later chapters, TJ fills quite important roles. In Chapter 7, we examine the story-related role that TJ plays as Albert’s ally.  In Chapter 9, the psychological function that TJ serves for the isolated Albert will be discussed.  Thus, contrary to what we are told, TJ counts very much indeed.</div> <div>      The second instance of irony appears at 1:02:52 when Albert assures his dead pet, “Don’t worry, Ed; things always look better in the morning.”  </div> <div>      The truth, of course, is that things don’t always look better in the morning, as Albert knows all too well.  We infer that Albert has heard this bromide from an adult, very possibly his mother who we have already seen dealing with Albert’s panic about Ed with a similarly unhelpful remark, “I told you those turtles don’t last!” (1:02:28).</div> <div>      Thus, the broader truth illustrated by Albert’s ironic assurance is that what this child needs is not homilies but help; or at the very least, some meaningful interaction with his mother.  </div> <div>       </div> <div> 3.     Suspense.  For a story to be viable, the audience must be in suspense as to whether the protagonist will achieve his goal.  If we assume that the protagonist will be successful, his journey becomes much less exciting and his story less interesting.  </div> <div> We also need to know that dire consequences await our hero if he fails to achieve his goal.  We must be aware that in his quest, our hero is risking something vitally important, often his life itself .</div> <div> In Ed, Albert’s external goal is to give Ed “the sendoff” that his father never got.  The hostility of Kevin, whose help Albert feels he needs if he is to attain his goal, threatens Albert’s chances of success.  So the initial question generating suspense is whether Kevin and the others will show up at the funeral.</div> <div> This element of suspense is then spiced with risk when Albert promises Kevin a non-existent Willie Mays baseball card to induce Kevin to help.  Twice we hear warnings of the risk to Albert created by this ruse.</div> <div> “You’re gonna get it when Kevin finds out,” TJ warns Albert as Albert makes ready for the funeral (1:06:02).</div> <div> And when Kevin and the others finally do appear for the funeral (1:08:25) the first thing we hear is Matt’s off-screen line, “I’d hate to be Albert if he doesn’t have that Willie Mays!”</div> <div> Then comes the moment of reckoning.  As Albert packs his bag following the funeral, suddenly Kevin looms over him.</div> <div> “You can beat me up,” Albert tells him.  “I don’t have a Willie Mays.”</div> <div> “I know,” Kevin replies.</div> <div> With those two words, the suspense of whether Kevin is going to “beat up” Albert is released, and Albert is a step closer to peer acceptance. </div> <div> Students should be aware that writers use suspense for purposes other than dramatic effect.  For example, suspense can be a highly effective characterization tool.  Much can be learned about people from the way they react to pressure and danger.  Indeed, in some films we first meet the protagonist in dire circumstances fraught with suspense.  The opening to Indiana Jones and the Last Crusade mentioned above is one example. </div> <div> The introduction of Sundance (Robert Redford) in Butch Cassidy & The Sundance Kid (1969) offers an example of suspense used for both dramatic effect and characterization.  </div> <div> As the character we will soon know as Sundance rakes in poker winnings, he is accused of cheating by a tough looking gambler who appears intent on making him pay for his deception. </div> <div> “The money stays – you go,” the gambler informs Sundance, his hand poised over his six-shooter.  </div> <div> Enter Butch Cassidy (Paul Newman) who sizes up the situation and frantically implores Sundance to leave while he can. </div> <div> “Wasn’t cheating,” Sundance replies stubbornly.  </div> <div> Because our information about Sundance comes almost entirely from Butch’s anxious reaction, we assume Sundance is in considerable danger.  So when Sundance adds that he will only leave if the gambler asks him to stay, the tension is ratcheted up yet another notch.</div> <div> Butch then asks the gambler to consider acceding to Sundance’s bizarre request.  Instead, the gambler motions Butch out of the way - presumably of the hail of bullets that are about to fly at Sundance.</div> <div> “I’m sorry,” sighs Butch.  “I can’t help you, Sundance,” </div> <div> Hearing the name “Sundance,” the gambler realizes he has made a tragic mistake by challenging the legendary gunfighter, The Sundance Kid.  In a split second, the tables have turned and the suspense of how our man will survive is instantly resolved.  And our relief turns into delight as Butch and Sundance proceed to escape not only with their lives, but also with the gambler’s money - along with our undying allegiance to these two smart, tough and incredibly cool characters, who we are now prepared to follow wherever they may take us.   </div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div>          <FONT SIZE="6" COLOR="#000000" FACE="Arial" >*     *     *</FONT></div> <div> Activities:</div> <bR> <div> 1.    Have students compete to see who can come up with the greatest number of items that helped establish Ed’s historical setting; e.g., vehicles at the opening bearing 1959 license plate tags, the “Boy’s Life” magazine with Mickey Mantle on cover, the milk man, poodle skirts at the bus stop, Kevin’s small baseball glove and tee-shirt tucked into his blue jeans, TJ’s toy guns, the baseball cards in Albert’s toy chest, the vintage tractor on the way to the funeral and the calypso towel beneath Ed’s “casket.”</div> <bR> <div> 2.    Write diary entries as Albert might have for the four consecutive days covering the day before the film begins, the first day of the film (in which Ed dies in the evening) the day of the funeral and the day after the funeral in which Albert goes to play ball after school with Kevin, Eggs & Matt.   Have students evaluate the voice or point of view in which they wrote their entries and compare them to how they feel Albert might have written his.  Have students repeat the exercise as Kevin.</div> <bR> <div> 4.    View with students the opening to Charlie Chaplin's last silent film, Modern Times (1936), in which a scene depicting sheep being herded into a pen dissolves into one showing workers being herded into a factory.  Discuss how the opening, without dialogue, signals the theme of the dangers of dehumanizing industrialization.  Discuss how silence can enhance a film and how without a word of dialogue, a film can nevertheless say quite a lot.  Have the students write one or two lines of dialogue for the scene of the workers being herded into the factory that would support or embellish the theme.</div> <bR> <div> 5.    Have the students view films such as Field of Dreams (1989), League of Their Own (1992) and The Sandlot (1993) to compare and contrast how baseball is used to evoke a bygone era. </div> <bR> <div> 6.    Ask the students to rewrite a scene or sequence from the film that doesn’t appear in the short story, (e.g., the bus stop sequence) using the narrative voice of the short story. </div> <div>  </div> <div> 7.    Have students list character similarities and dissimilarities in Ed and how a character’s behavior is used to develop plot and theme.</div> <bR> <bR> <div> Resources & Materials: </div> <bR> <div> 1.     Campbell, Joseph (1972).  The Hero With A Thousand Faces.   Princeton University Press.</div> <bR> <div> 2.    McKee, Robert (1998).  Story: Substance, Structure, Style and the Principles of Screenwriting.  New York: Regan Books/Harper Collins.</div> <bR> <div> 3.     Egri, Lajos (1972).  The Art of Dramatic Writing, Rev. Ed.  Touchstone.</div> <bR> <div> 4.    Eken, A.N. (2002).  The Third Eye.  Journal of Adolescent & Adult Literacy, 46, 220–229.</div> <bR> <div> 5.     Wood, Stephen C. and Pincus, J. David  (Ed.s) (2003).  Reel Baseball?- Essays and Interviews on the National Pastime. North Carolina: McFarland & Company, Inc.</div> <bR> <bR> <bR> <div> The following introduction from the Guide sets out the program's goals and strategies. </div> <bR> <bR> <bR> <div>                                    Introduction</div> <div> <I><B>                           Teaching With Film</B></I></div> <bR> <bR> <div> <B><U>Academic Goals & Strategies</U></B></div> <bR> <div>      <FONT SIZE="4" COLOR="#000000" FACE="Verdana" >     </FONT><FONT SIZE="4" COLOR="#000000" FACE="Times New Roman" >It has been some time now since the proliferation of visual media in our kids' lives began to engender apprehension among parents and educators.  Yet, still largely overlooked amidst the concern over kids' immersion in music videos, web casts and pod casts, are the visual language skills developed as a result, and the opportunity that such skill development offers in the classroom.  </FONT></div> <bR> <div>           The use of film beyond that of the occasional adjunct to a lesson plan has validity if the active viewing and analytical skills that students have developed for visual images can be harnessed and applied to core curriculum objectives.  The study of the <I>Ed Meets His Maker</I> story-film pair is intended to accomplish that objective by pursuing two interrelated goals:  </div> <bR> <div> To improve reading and analytic skills through consideration of, and work with elements of the story including character development, theme and structure. </div> <div> To improve storytelling skills - both written and visual - by applying to written text the active viewing skills customarily used with film, and to film the critical thinking skills applied to literary interpretation.</div> <bR> <div> Achievement of these goals can be facilitated by discussion and exercises with story elements that are common to short story and film, as well as analysis of those elements that distinguish them.  In addition, activities relating to cinematography, music, and performance will help students reach these goals by enhancing understanding of an array of story components ranging from conflict to character development to mood.</div> <bR> <bR> <div> <I><B> </B></I><I><B><U>Ed Meets His Maker</U></B></I><B><U>: a Unique Teaching Tool</U></B></div> <bR> <div> In <I>Ed Meets His Maker</I> a young boy takes control of his life and makes it better.  The story's message of empowerment is meant both for young people who may be suffering in isolation like the main character, Albert LaChance, and for others who might wish to understand and perhaps even help an Albert whom they know. </div> <bR> <div> <I>Ed Meets His Maker</I> is a versatile teaching tool for a single class or a two-week unit, and it offers unique advantages to the teacher using film in core curriculum.  Though the film has a total run time of 14:40, it is a “complete” story that lends itself to the same structural and thematic analysis as a feature length film, but without imposing nearly the time and logistical demands.  And, it offers the same opportunity to apply a variety of language skills and strategies, and the same invitation to interdisciplinary study as does a feature film. </div> <bR> <div>  Another unique aspect of <I>Ed</I> is its “behind-the-scenes” aspect.  My comments as the original story writer, adapting writer and director of the film are intended to engage students more intimately in the creative process and thus stimulate their own creativity.  The students are invited to apply critical thinking not only in analyzing the story, screenplay and film, but also in evaluating choices that I and others made in the collaborative process that is filmmaking.  </div> <bR> <div> Other features such as interviews with key production team players including multi-Emmy Award winning composer Brian Keane and award-winning director of photography Tim Bellen are also intended to engage students with insights not just about filmmaking, but about making <I>this</I> film; a perspective not commonly available to middle school students.  </div> <bR> <div> Aside from its social theme, it is our hope that the study of “Ed” will help make another point as well: that storytelling is <I>important</I>.  And the reason that is so is precisely that there <I>are </I>themes to the story; that the events in it, and in any other worthwhile story, are imbued with the order and meaning that too often is missing in life. And who better to feel the need for such order and meaning than adolescents and pre-adolescents struggling to understand ever more complicated events and emotions!  Students change forever as readers and thinkers when they recognize the way themes make literature in all mediums timeless commentaries on the human experience, and therefore on their own lives as well.</div> <bR> <bR> <div> <B><U>The Guide</U></B></div> <bR> <div> Certainly, the analysis of Ed's theme and its applicability to student viewers relates to a social initiatives area of study.  This Guide and the enclosed materials however are intended to make <I>Ed</I> a useful teaching tool in three additional areas: language arts, music and drama, both separately and in combination.   </div> <bR> <div> The teachers of those disciplines who use this Guide will have varying degrees of familiarity with screenwriting and filmmaking.  Thus the “Story Telling in Film” portion of the Guide contains some basics of screenwriting, adaptation and cinematography along with a glossary of filmmaking terminology; enough to permit meaningful instruction without straying too far from the goals described above.  And for those wanting additional material, a filmmaking bibliography and resource directory is provided. </div> <bR> <div> This Guide is divided into four parts, each dedicated to one of the four areas of study mentioned above.  Each of the included chapters contains suggested questions & activities designed to create meaningful and enjoyable connections between student and material.  </div> <bR> <div> Needless to say, (but I can't help myself) the separation of areas of study in this Guide should not discourage the unique opportunity for any interdisciplinary project that underlies this film and story.  Indeed, it is our hope that the students' experience in studying “Ed” will be enriched by combining areas of study. </div> <bR> <div> To this end, a number of the suggested activities have interdisciplinary potential, beginning with a comparative analysis of the short story and film.  That analysis can be undertaken solely as a language arts project.  Or, it can run the gamut of the four disciplines, beginning with discussion of theme in the context of social initiatives, moving to the analysis of story structure as a traditional language arts lesson, segueing into the world of filmic storytelling with the study of adaptation, and continuing through discussion of the impact of film technique, music composition and performance.</div> <bR> <div> Many other interdisciplinary activities lend themselves to this project as well, such as students performing alternate “Ed” scenes that they have written; students scripting a sequel to “Ed” and producing a video based on the script; and, the ultimate learning experience - students putting to music scenes or monologues they have written themselves. </div> <bR> <div> I should add that the suggested activities have been designed with fun in mind; indeed an assumption upon which this project is based is that kids enjoy watching movies - especially in school!  </div> <bR> <bR> <div> <B><U>The </U></B><I><B><U>Ed Meets His Maker</U></B></I><B><U> Middle School Premiere</U></B></div> <bR> <div> Before writing the Guide, we needed to be confident that kids would enjoy <I>this</I> movie.  So we tested <I>Ed</I> <I>Meets His Maker</I> in my hometown of Fairfield, Connecticut with eighth grade language arts students who studied the short story-film pair, and with sixth graders who viewed and analyzed the film.  It was the degree to which these students - and their teachers - were engaged with <I>Ed </I>that sealed the deal for us in proceeding with this learning through film project.</div> <bR> <div> At the outset, we were gratified to hear how much the students enjoyed both the story and film, and that the film compared so favorably with those they were accustomed to seeing in school.  The interaction of the film's young characters felt real to the kids watching it, and the themes clear and relevant without being preachy.  Finally, we were happy to see that the humor in the film was accessible to, and appreciated by not only the young viewers but their teachers as well.  </div> <bR> <div> This last observation was especially gratifying, as <I>Ed</I> was written and produced with a multi-generational audience in mind, from eleven-year-olds to their Baby Boomer grandparents who can actually remember 1959.  And while we harbor no pretensions that <I>Ed Meets His Maker</I> is the lifesaver for young people submerged in electronic imagery, we'd like to think it's a step in the right direction.     </div> <bR> <div>                                     Laurence Sarezky       </div> <div>                                                                                                                                           <FONT SIZE="4" COLOR="#000000" FACE="Arial" >Fairfield Connecticut</FONT></div> <div>                                               </div> <bR> </td> </tr></table></body>