BEHIND THE VEIL CURRICULUM Uncovering the forgotten true beginnings of American cinema
Curriculum Unit I Unit II Unit III Glossary Credits Appendix A Appendix B Appendix C With funding from the National Endowment for the Humanities, AFI’s Behind the Veil project chronicles the groundbreaking short films of storytellers in the early days of American cinema. This curriculum integrates film history and analysis, information and media literacy, and media arts production for 9th12th grade students so they can learn more about early film pioneers and produce their own original short films. BEHIND THE VEIL Uncovering the forgotten true beginnings of American cinema 2
3 BEHIND THE VEIL Curriculum BACKGROUND By documenting early short films and those involved in their creation, the American Film Institute (AFI) Catalog is working to expand the scope of scholarship, to bring disparate perspectives into view and to explore the complexities of American film history. A short film is typically under 40 minutes; however, the short films in this curriculum will be under 15 minutes, so they can be screened and discussed during an average high school class period. This curriculum is designed to help young people learn more about film history, specifically works by filmmakers who have been generally overlooked by historians because they were making shorts instead of features. Additionally, through critical analysis and hands-on production, students will explore how their personal stories can be shared through filmmaking. “Film scholarship has long favored feature-length titles, and this partiality has significantly limited historians’ efforts to study how people from diverse communities made films and how they saw themselves on screen. Behind the Veil is essential to working toward establishing a more inclusive and accurate canon of American film history. Documenting short film creators will provide opportunities for discovering the work of storytellers who have been excluded to date and open new doors of possibility for a more authentic account of America’s cultural legacy.” –Sarah Blankfort Clothier, Manager of the AFI Catalog “For short film cinephiles, this is an enormously exciting time as shorts are more visible and easier to access than ever before. Certainly, the most profound recent development is the easier online availability of both old and new titles, which has elevated the fortunes of the short film so dramatically that film critics have declared we are in the midst of a period of ‘renaissance’ and ‘rebirth.’” –Cynthia Felando, Author, Professor, and Short Film Scholar This curriculum outline is informed by the Universal Design for Learning Framework (The UDL Guidelines), which asks educators to consider multiple means of engagement, representation, and expression/action when designing curricula. To engage all learners, the curriculum seeks to provide a diverse selection of short films representing a multitude of identities and issues, with the hope that young people can see themselves in the films and the people who created them. In this curriculum, we ask young people to explore themes of representation and identity, both in their analysis of short films and through their creative productions.
4 GOALS of the CURRICULUM: 1.Students will read articles, watch films, and engage in peer dialogue to reflect on the meaning of implicit bias, stereotypes, and representation in film and media. 2.Students will engage in a research and discovery process by using the AFI Catalog and other resources to learn more about the groundbreaking work of women, Asian, and Black film pioneers working mainly on short films in the early days of American filmmaking. 3.Students will critically analyze short films from the silent era to the present, with special attention to films directed by historically overlooked filmmakers and those addressing issues related to gender, race, and culture. 4.Students will produce short films, exploring issues of representation, using the unique conventions of the short film medium. SUBJECTS: Media Arts, History & Social Studies, English Language Arts GRADES: 9-12 GUIDING QUESTIONS What role did historically overlooked filmmakers have in the development of the motion picture industry and the production of short films during the silent era? Why is it important to recognize underrepresented filmmakers? What are the common characteristics of the short film format, and how can we tell stories within these parameters? How can we explore issues of representation and identity through film? How can we use filmmaking to share stories that might otherwise go unheard? PREPARATION FOR TEACHERS Teaching Film Analysis in the Humanities | NEH-Edsitement What is History? Timelines and Oral Histories | NEH-Edsitement Have Courageous Conversations - Teach Better Courageous Conversations in the Classroom Part I: A Partnering Tool to Achieve Equity in Schools | CEI Teaching About Stereotypes 2.0 | Learning for Justice MEDIA & MATERIALS Screening Materials: Within each unit, there are links to videos. Teachers will need an internet connection and a projector or large monitor with audio to screen videos for the whole class. Some videos can be screened individually by students on computers (with headphones) or at home (as homework).
5 Recording Video/Audio and Editing: In Unit 3 (optional unit), students will be asked to create short films. Students must have access to cameras or other devices (iPads, iPhones, etc.) to create short films (to capture video and audio). On certain occasions, students might want to interview a family member or film their lives outside of school, and they will need to use a recording device outside the classroom. They will also need to edit their videos using software on a computer (e.g., iMovie, Adobe Premiere Pro) or a device (e.g., iMovie for iPad/iPhone, Adobe Premiere Rush for iPad/iPhone or Android). Computer Access: Students will also need computer access to research and use resources such as the AFI Catalog. STRUCTURE OF THE CURRICULUM The curriculum is divided into three units: Unit 1 - Discussing Representation in Film History Unit 2 - Critical Analysis of Short Films Unit 3 - Producing Short Films The first two units could be completed in two weeks, and the third unit could take up to two weeks. The third unit involves the production of short films, either in small groups or as individual projects. To produce short films, students would need prior experience in basic filmmaking (e.g., working a camera, composing shots with intentionality, using camera movement, editing, and adding music). For certain projects, students would also need to be comfortable collaborating on a group project. Filming outside the classroom and school is suggested (e.g., interviewing a family member for a documentary). The lessons are designed for 45-minute classes. Unit Elements: Learning Objectives: What students will ideally be able to do by the end of the unit (e.g., engage in research, analyze a short film, discuss a concept in a small group). Learning objectives align with media arts, history/social studies, and English Language Arts standards. For more information, see Learning Standards in Appendix C. Learning Activities: Each lesson is divided into several different learning activities, such as discussion, screening, researching, and producing. 1.Discussion - An opening activity centering around a film, multiple film clips, or a presentation. The curriculum uses the following terms… a.Screening: watching and analyzing films b.Discussing: responding to films or questions (small groups or whole class) c.Sharing: teacher is sharing new information with the students (such as a definition), or the students are sharing ideas and stories 2.Activity - An opportunity for students to engage in hands-on, independent, or small group activities, where they explore concepts and apply knowledge. a.Researching - students research someone or something independently or as a small group b.Writing/Brainstorming/Sketching - students apply knowledge and reflect while generating ideas c.Filming/Producing/Editing - students actively create a project to share their knowledge, thoughts, and feelings 3.Reflection - A closing activity where students reflect on what they have learned and shared. This is an opportunity for teachers to integrate formative assessment.
6 UNIT I: Discussing Representation in Film History SUBJECTS: Media Arts, History & Social Studies, English Language Arts GRADES: 9-12 LENGTH: 4-5 days Learning Objectives Analyze multiple complex causes and effects of implicit bias in film and media, including “historical bias” in the archiving process. Engage in a research process that utilizes various sources, including documentary films, articles, and archival data. Engage in the research process by searching the AFI Catalog for short films created by historically underrepresented filmmakers. Discuss “representation” in film and media and draw connections to personal experience. Learning Activities The following discussions might be challenging for some students, and creating a safe space with community agreements or group norms is essential. “Brave spaces” are safe for students to engage in critical analysis and debate. Each teacher may approach this differently, and there are many online resources for having courageous conversations with young people. Here are a few: 3 Ways to Enhance Culturally Responsive Teaching in Middle and High School | Edutopia Using Community Agreements to Start the Year Strong Teaching About Stereotypes 2.0 | Learning for Justice Have Courageous Conversations - Teach Better Courageous Conversations in the Classroom Part I: A Partnering Tool to Achieve Equity in Schools | CEI 4 Ways K-12 Teachers Can Support Students’ Emotional Well-Being | Edutopia
7 Day 1: Understanding Representation 1.Screening & Discussion: What is “representation?” a.Whole Group: Understanding Representation i.Screen the first 2 minutes and 45 seconds of Chimamanda Adichie’s TED Talk, “The Danger of a Single Story” (0:00-2:45). ii.Ask students if they have ever felt they were not represented in the films and TV shows they watch. Can they think of an example? iii.Ask students if they have ever felt like they were represented, and if so, what are some examples of films and TV shows that they think represent them? b.Whole Group: Understanding “Implicit Bias” i.Screen this video (2:30) from the NY Times about implicit bias: Who, Me? Biased? - The New York Times ii.Share the definition of implicit bias from the APA: “Implicit bias is a negative attitude, of which one is not consciously aware, against a specific social group.” 2.Writing: i.Ask students to think about a time that they experienced implicit bias or were treated unfairly because of their race, class, gender, sexual orientation, culture, religion, or appearance. Or, maybe they can think about a time that they held a judgment towards another person because of their race, class, gender, sexual orientation, culture, religion, or appearance. Here are some prompts: 1.What happened? 2.What did it feel like? 3.If you could go back in time, how might you change this experience? ii.Students write independently for 10 minutes to reflect on their experiences. iii.After the time for writing, students will discuss in pairs (10 min). iv.After sharing in pairs, students can volunteer to share their stories with the larger group if they are comfortable doing so. This reflection might be difficult for some, and it is essential to scaffold the experience (personal reflection first, reflection in pairs, and then the larger group). 3.Reflection a.Create time at the end of the lesson for students to review and save this piece of writing (on a computer drive or in a folder). This writing exercise might be the beginning of an idea for a short film (see Unit 3). b.This piece of writing can also serve as a formative assessment. Further Viewing: As a follow-up or homework activity, students might watch the full video from Chimamanda Adichie’s TED Talk, “The Danger of a Single Story.”
8 Day 2: Understanding Bias in Film and Media 1.Screening: Share the “Shirley Card” short video (4 min) with students. This video discusses racial bias in film and TV technology. Ask students, “Were you surprised by anything you saw or heard in this video? Why or why not?” 2.Researching: Share the accompanying article and ask students to read it independently. 3.Discussing: After students have had a chance to read the article, ask them to discuss the following in small groups (3-4 people per group): i.What is one thing you learned by watching this video and reading this article? ii.Look at the images in the article; why do you think the advertisers and magazines lightened the skin of these famous Black women? 4.Researching: In the same small groups (3-4 people), ask students to find examples of bias in film, TV, advertisements, and social media. Examples might include gender bias, racial bias, or cultural bias. 5.Reflection: After the small group work, ask each group to share their findings with the larger group. This presentation can serve as a formative assessment. Day 3: What is “representation” in film and media? 1.Sharing (print out or project on screen): The American Film Institute's (AFI’s) Catalog of Feature Films is renowned as the world’s most academic and comprehensive chronicle of the first century of cinema history, which documents every American feature film and co-production released from 1893 to 1993. In 2022, AFI was awarded a grant from the National Endowment for the Humanities (NEH) for a project titled “Behind the Veil,” named after the lost 1914 short film directed by Lois Weber. 2.Historical bias occurs when a source is one-sided, unbalanced, and/or prejudiced, using positive or negative language and/or omitting facts. AFI is trying to engage audiences in discovering more about the past and encouraging new conversations about the art of filmmaking. AFI is also spotlighting storytellers from many different backgrounds who have traditionally been omitted from the historical narrative through this project (see next page for examples). Behind the Veil (https://aficatalog.afi.com/behind-the-veil/) involves researching short films released in the silent and early sound eras for documentation in the AFI Catalog. AFI is on a mission to establish the foundation of a new canon that represents filmmakers, actors, and audiences that have been historically overlooked and to offer a look “behind the veil” of that historical bias to reveal the true breadth of America’s legacy in film.
9 Three Filmmakers from the Silent Era (1896-1931) Alice Guy Blaché Alice Guy Blache is believed to be the first person to make a narrative film, LE FÉE AUX CHOUX (THE CABBAGE FAIRY), in 1896. In 1910, she co-founded an American studio, Solax, where she directed roughly 20 feature-length films, all of which are recorded in the AFI Catalog. However, Blache’s filmography includes over 300 titles when accounting for her short films. Her shorts have now been added to the database, including the groundbreaking 1912 short film A FOOL AND HIS MONEY, which featured an all-Black cast. William D. Foster America’s inaugural Black filmmaker, William D. Foster, also established a studio in 1910 to produce films that portrayed African Americans authentically, without racial stereotypes or “blackface.” Still, none of these important works were previously included in the AFI Catalog because they are short films. Now, Foster’s short films are included, and we can appreciate the breadth of his work. Marion E. Wong Born in San Francisco and raised in Oakland, Marion E. Wong was just 20 years old when she established the Mandarin Film Company in 1916 and began to write, direct, produce, costume design, and act in her first and only feature, THE CURSE OF QUON GWON. This film is the earliest known Chinese American feature film and likely the first Asian film directed by a woman in the United States. Sources: Clothier, Sarah Blankfort (2024), ‘“Behind the Veil”: Documenting early short films at the AFI Catalog. Short Film Studies. (Full article in Appendix A); The AFI Catalog Spotlight.
10 3.-Sharing Data (print out or project on screen): Inequality in 900 Popular Films (2007-2016) Examining 900 films produced between 2007 and 2016, a team of researchers from USC Annenberg’s Media, Diversity, and Social Change initiative found that… a.70.8% of the characters were White, only 13.6% were Black, 5.7% Asian, 3.1% Hispanic/Latino, 3.4% Middle Eastern, <1% American Indian/Alaskan Native, <1% Native Hawaiian, and 2.7% Mixed Race or Other. b.Across 900 films and 1,006 directors, only 5.6% of the directors were Black or African American, and only 3% were Asian or Asian American. c.In 2016, out of 4544 speaking characters, only 36 were gay, nine were lesbian, six were bisexual, and zero were transgender. d.Out of 1006 films produced between 2007 and 2016, only 41 were directed by women. Source: INEQUALITY IN 900 POPULAR FILMS | USC Annenberg (Smith et al., 2017)
11 4.-Writing: Ask students to answer the following questions in their own words (write in reflective journals, computers, or simply free-write on paper): a.Why is representation in front of the camera (actors, stories, settings) important? b.Why is representation behind the camera (writers, directors, cinematographers, editors, producers, caterers, costume designers, etc.) important? c.How can we create more fair and equitable representation in film and media? 5.-Reflection: In pairs, ask students to share their writing. If students feel comfortable sharing with the larger group, allow time for a whole-group share-out. These writing pieces can also be used as formative assessments. From The AFI Catalog Team: Cataloging and archiving practices have traditionally left out women and non-white filmmakers, making their work harder to find and losing the opportunity for these artists to be included in history books. One reason for this is the longstanding practice of prioritizing feature films over short films. Short films have been a popular outlet for storytellers who could not afford the cost of a feature or could not secure financial backing from a studio.
12 Day 4: Filmmakers from the Silent Era (1896-1931) 1.Screening: Ask students to take notes while watching these short documentaries about Marion E. Wong and William D. Foster, as well as the trailer for the feature-length documentary about Alice Guy Blaché. They will choose one that they want to learn more about. *These screenings could also be assigned as homework so that students come to class with some knowledge about each filmmaker. a.Short Documentary (8:24) about Marion E. Wong: She Made the First Asian American Film. Then History Forgot Her. b.Trailer for Be Natural (2:24), a documentary about Alice Guy Blaché: BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHÉ - official US trailer c.A short documentary (3:35) about William D. Foster from the Academy Museum of Motion Pictures: Filmmaker Profile: William Foster 2.Researching: Allow students to choose one filmmaker from the screenings. Each student will independently research the filmmaker and share their findings with a small group. Ideally, students will be grouped with others who chose different filmmakers so they can learn from each other. a.Provide the following resources: i.AFI Catalog ii.A short article about Alice Guy Blaché from Columbia’s Women Film Pioneers Project. iii.A short article about William Foster iv.AFI Catalog Spotlight: THE CURSE OF QUON GWON and Marion E. Wong v.Or a short article on Marion E. Wong from Columbia’s Women Film Pioneers Project. b.In journals, notebooks, or on their computers, ask students to take notes on each filmmaker, focusing on: i.Biographical Information (e.g., Where did they live and work, what years were they active as filmmakers, what jobs did they have on each film?) ii.Films (how many films did they make, did they have a production company, what were their films about?) iii.The filmmaker’s accomplishments and the challenges they faced. c.In small groups, ask students to teach each other about the filmmaker they have researched. This jigsaw-style activity is designed to facilitate peer-to-peer teaching and collaboration. These small group discussions can serve as a formative assessment. 3.Reflection: Ask each group to share their knowledge about the filmmakers with the larger group. What did they learn? Did anything surprise them? Extension - Culminating Project Ask students to find a contemporary director they are interested in learning more about, watch one of their films if possible, and create a short presentation about the filmmaker. Students can search the AFI Catalog or other databases such as IMDb, or simply conduct internet searches for “Female Directors,” “Latin Directors,” “Black Directors,” “Asian Directors” and so on. Some examples might include Greta Gerwig, Alfonso Cuarón, Ava Duverney, Wong Kar-wai, Jordan Peele, and many others. In their presentation/slideshow, they can include slides for: 1.Biographical information and photos 2.Films (including titles, dates, synopsis or tagline, and film stills*) 3.A summary of one film (including characters, setting, story/message, style, and film stills) 4.*for film stills, students can use databases such as Shot Deck
13 UNIT II: Critical Analysis of Short Films from the Silent Era to the Present Day SUBJECTS: Media Arts, History & Social Studies, English Language Arts GRADES: 9-12 LENGTH: 4-5 days Learning Objectives: Analyze the intent and meaning of various short films based on personal, societal, historical, and cultural contexts. Explain how short films relate to various contexts, purposes, and values, such as social trends, power, equality, and personal/cultural identity. Analyze short films' formal qualities, narrative structure, and the relationships between the elements, style, and content. Look and listen closely to determine what a film is communicating and determine the central ideas or themes. Analyze how and why individuals, events, and ideas develop and interact throughout a film. Film still with actors Gertie Brown and Saint Suttle in Something Good – Negro Kiss (1898) by William Nicholas Selig (director).
14 Learning Activities: Day 1: Screening and discussion of early short films After screening each film with the whole class, ask the students to answer questions individually or in small groups, and if they are comfortable doing so, allow time for a whole class discussion. 1.WORKERS LEAVING THE LUMIÈRE FACTORY- This film, from 1895 is one of the earliest movies ever made. The 46-second silent picture was directed and produced by Louis Lumière and captures a continuous stretch of time that shows employees leaving a photography equipment factory in France, at the lunch hour. The film was first privately shown in Paris on March 22, 1895. It was the first time a movie had been screened for an audience.Questions for students: a.What do you notice about this film? b.How did it make you feel? c.Is there anything about the film that you can relate to? 2.THE CABBAGE FAIRY (watch until “Fin” at 1:07) THE CABBAGE FAIRY (1900) was made by the firstever woman filmmaker, Alice Guy Blaché, and is a remake of the lost film she first created in 1896. It is also famous for being the first movie ever to tell a story, rather than simply show something, such as workers leaving a factory. In one continuous shot, the story’s main character looks for the babies a fairy left in the cabbage garden.Questions for students: a.What did you notice about this film? How did it make you feel? b.How was it different from “Workers Leaving the Lumière Factory?” c.What is the theme or story? 3.SOMETHING GOOD - NEGRO KISS (SHORT DOCUMENTARY) In this short documentary from the Academy Museum exhibition “Regeneration: Black Cinema 1898–1971,” curators Rhea Combs and Doris Berger, along with Academy Museum President and Director Jacqueline Stewart, discuss SOMETHING GOOD--NEGRO KISS (1898). It was the first film to show African American actors kissing and is an adaptation of an earlier film with white actors called “The Kiss.” It was lost until 2017 when it was found at the University of Southern California. It is now in the National Film Registry.Questions for students: a.How does SOMETHING GOOD--NEGRO KISS (1898) differ from Edison’s short film, THE KISS (1896)? b.What did you notice about SOMETHING GOOD--NEGRO KISS? How did it make you feel? How would you describe the characters’ interaction? For students interested in learning more about the discovery process of SOMETHING GOOD--NEGRO KISS, here are two articles: https://www.indiewire.com/features/general/something-good-negro-kiss-lost-black-films-1234654298/ https://www.pbssocal.org/shows/artbound/how-a-20-second-film-of-black-performers-kissing-in-1898was-rediscovered-and-why-it-matters
15 4. A FOOL AND HIS MONEY. This is a silent comedy from 1912. It is believed to be the first film with an all-African American cast. It was directed by Alice Guy-Blaché, who is widely considered the first woman filmmaker. She co-founded the Solax film studio in the United States in 1910. Questions for students: a.What was the story? What happens to the main character in the beginning, middle, and end? b.Since the film has no dialogue, how do we understand the story? c.How do we understand the characters’ thoughts and feelings? d.Did anything surprise you about this film? Please share. Film still, A Fool and His Money (1912) by Alice Guy Blaché
16 Days 2-4: Contemporary Short Films 1.Introduction (print out or project on screen): 2. An Overview of the Conventions of Short Films Traditional Shorts vs. Art Shorts: In a traditional short film, the story, characters, and endings are easy to understand. There is “closure” at the end, so we know how things turn out for the characters (i.e., we understand “what happened”). Art shorts often tell more ambiguous stories. For example, they often leave out narrative or character details, and endings are left “open,” so we cannot be entirely sure how things or events turned out. Such films are open to viewers’ interpretations. Dialogue or No Dialogue: Compared to longer, feature-length films, short films often have little dialogue and, sometimes, no dialogue at all. Endings: Short films often have surprise or twist endings that we do not expect. Settings: Short films usually have few settings and often occur in a single location. Characters: Usually, shorts have only a few characters (one or two). Unlike longer films, shorts often present a “portrait” of a character as they are. It is rare for characters to have complicated goals or to embark on big journeys. Time and Story: The stories and events in short films are usually brief. Shorts often focus on select moments or “fragments” of time. Simple Story: Short films usually tell simple stories with one plot (no subplots). Sometimes, shorts focus on what is called a “slice of life.”
17 2. Screenings of contemporary short films. These films represent many identities in front of and behind the camera and are short enough to be viewed and discussed during a regular 45-minute class. Teachers may want to choose one or two films to screen and discuss per class. LOCKS by Ryan Coogler https://www.kanopy.com/en/product/locks Year: 2008 Running time: 6 min Description: A young man in Oakland, California, wakes with a heavy heart and walks through the neighborhood to the local barbershop. Using very little dialogue, “Locks” addresses negative preconceptions about Black men, family, and identity. Ryan Coogler is an African-American filmmaker and producer from Oakland, California. He is known for directing the Black Panther film series, Creed, and Fruitvale Station. “Locks” is a student film Ryan wrote and directed at USC. NUMB by Liv McNeil https://www.youtube.com/watch?v=iSkbd6hRkXo Year: 2020 Running time: 4 min Description: Liv McNeil is an artist and filmmaker. In 2020, as a 9th-grade student, Liv shot, edited, and starred in this short documentary film that shows the effects of COVID-19 on adolescent mental health. This “slice of life” short portrays Liv and her experiences using a time-lapse to convey the endless sameness of lockdown during the pandemic. Liv has gone on to other projects, including a behind-the-scenes documentary on Sofia Coppola's film Priscilla, released in 2023 on the A24 app. SEE YOU NEXT TIME by Crystal Kayiza https://www.youtube.com/watch?v=T9mahJUoUWY Year: 2019 Running time: 6 min Description: This portrait-style documentary examines themes of race and beauty. The film provides a glimpse into the intimate work and chat that occurs in the nail salon. The film also celebrates the artistry of the manicurist and her client’s appreciation. Crystal Kayiza is a Brooklyn-based filmmaker originally from Oklahoma. She received numerous awards from renowned organizations such as Sundance and HBO. TWIST ENDING / NARRATIVE ART SHORT / SLICE OF LIFE / PORTRAIT PORTRAIT / DOCUMENTARY
18 THAT ONE DAY by Crystal Moselle https://vimeo.com/181820532 Year: 2016 Running time: 13 min Description: This is a short film starring The Skate Kitchen, a real-life all-female skateboard crew. The video was created for the fashion brand Miu Miu and uses a “slice of life” narrative. The protagonist is a high school girl who hits a local NYC skate park where she looks like a fish out of water until she begins skateboarding and becomes part of a community of other young women like her. Crystal Moselle is a New York-based director best known for her Sundance Grand Jury Prize awardwinning documentary, THE WOLFPACK. LIFE AND TIMES by Jesse Cortez https://youtu.be/7pHaWDDlhtE?si=iscWTyBamr0JRCEF Year: 2014 Running Time: 5 min Description: In this short documentary, home video footage introduces us to Jesse, a budding filmmaker. As we see, his artistic family supported his talent and aspirations. After learning filmmaking as a teenager with DCTV, Jesse asks himself if he is ready to start over now that he is a high school graduate looking ahead to the future. SELF-PORTRAIT / DOCUMENTARY SLICE OF LIFE / NARRATIVE Teachers can also find more short films here: https://watch.afi.com/home (AFI Thesis films and DWW+) and https://www.shortoftheweek.com/. Teachers can use keyword searches and find specific films that match their students’ interests. 3.-Analyzing Films Students will analyze each short film for its narrative and formal elements. The goal is for students to understand the connection between the content (what is the story) and the form (how it was filmed and edited). Ideally, there will be time to screen each film for the whole group once so that they may enjoy it, and then screen it a second time, asking students to focus on the key elements. Using the Active Viewing Worksheet, students can work in groups of four, and each student can focus on one of the following quadrants: Story & Characters, Setting, Cinematography, and Editing & Sound. 4. -Small Group Discussion: After screening each film, students can discuss in groups and share notes. The goal is for the students to share what they noticed about each element: Story, Characters, Setting, Cinematography, Editing, and Sound. Then, as a small group they can answer the question: How do all of these elements work together to tell the story? 5.-Whole Group Discussion: After small groups have time to discuss, the discussion can be opened to the whole group. Asking the same question as above, each group can build upon each other’s responses or offer alternative perspectives. Extension - Culminating Activity: Ask students to think about the titles of each film (e.g., Locks, Numb, etc.) and answer the question: What do you think the filmmaker was trying to communicate with the title? How do the artistic choices (characters, setting, cinematography, editing, sound) help communicate this message? Students can write a one-page essay or create a slideshow with visual examples.
ACTIVE VIEWING WORKSHEET TITLE: DATE: NAME: STORY & CHARACTERS What is the story? Who are the characters? What do we know about them? Is there a clear beginning, middle, and end? What was the first shot? What was the last shot? SETTING Can you describe the setting? What do you notice about the location and props? What kind of light do you see? How does the setting make you feel? CINEMATOGRAPHY How does the filmmaker tell the story visually? How do they frame shots? How does the camera move? What do you notice about the lighting, color, and tone? How does the cinematography make you feel? EDITING & SOUND What do you notice about the rhythm? How would you describe the pace? What music or other sounds were added? What is the timeline? How much time passed? How does the editing make you feel? How do all of these elements work together to tell the story? ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________
20 UNIT III: Producing Short Films (optional unit for students and teachers with some background in basic filmmaking) SUBJECTS: Media Arts, History & Social Studies, English Language Arts GRADES: 9-12 LENGTH: 8-10 days Media & Materials Recording: Options might include cameras with video/audio capabilities, tablets, or smartphones with video/audio recording capabilities Editing: Computers, tablets, or smartphones with editing capabilities such as iMovie, Adobe Premiere Pro, or Adobe Premiere Rush Storyboard, Shot List, Production Plan Templates Journals Learning Objectives Engage in the research process (e.g., make observations, interview others) to identify a problem that can be explored through a short film. Conduct a short research project to answer a self-generated question or solve a problem; synthesize multiple sources, demonstrating understanding of the subject under investigation. Write narratives to develop real or imagined experiences using effective techniques, well-chosen details, and well-structured sequences. Demonstrate deliberate choices in organizing and integrating content and stylistic conventions in short film productions. Work with the challenges and constraints of the short film format to develop a range of creative and adaptive abilities, such as problem-solving and thinking flexibly. Learning Activities: Day 1: Introductory Activity - Communicating your identity through film 1.What is something you can communicate about your identity in a 30-second video? 2.Think about something that you want other people to know about you (that might not be known). 3.Students can shoot videos inside or outside the classroom (if allowed). Encourage them to be creative; in addition to filming themselves, they can also film objects, food, clothing, words, shapes, and light. No editing is necessary, but students can edit if the technology is available. A fun challenge might be to create a 30-second film without editing. The projects should be ready to be shared during the next class. 4.If no technology is available, students can also storyboard their ideas using the storyboard template in Appendix B.
21 Day 2: Sharing work 1.It is ideal to create safe and supportive learning environments before engaging in feedback sessions, here is more information about peer feedback: https://www.edutopia.org/article/teaching-kids-giveand-receive-quality-peer-feedback/ 2.Generate and review “norms” for constructive feedback that feels right for your classroom. 3.Suggested questions to be asked after each film (in small groups or whole class): a.What did you see? b.What did you hear? c.What did you think? d.What did you wonder?* *This thinking routine was created by Harvard’s Project Zero, more information can be found here: https://www.facinghistory.org/resource-library/see-think-wonder
22 Day 3: Choosing a Project & Brainstorming 1.Options for short film projects (to be handed out to students so they can choose which project would best fit their interests and abilities). Projects are scaffolded by proficiency level based on the National Media Arts Standards. a.Level 1: Proficient Experimental Short / Film Poem (individual)A “film-poem” or “poetry film” artistically combines language, visuals, and sound. Film poems can be personal and abstract and generally evoke a certain mood or feeling. For this project, you will first develop a poem about your identity. Identities are complex and multifaceted and are sometimes best expressed in unconventional ways. Using the poem “Where I’m From” (Where I’m From - Rethinking Schools) as an example, practice writing a poem about where you are from and what is unique about your identity. You will then record yourself reading your poem and use it as an audio track in your experimental short film. Using both literal and abstract imagery, you will film and edit visuals to be combined with the audio. In the editing process, you can play with visual or audio effects and add music to create a mood. The goal is to communicate the complexity of your identity to an audience. Films must be under five minutes in length. b.Level 2: Accomplished Documentary Short / Portrait Film (small group or individual) A “portrait film” is a snapshot of a person’s identity and story. Think of a person who has impacted your life -- a family member, a friend, or a mentor. What can you tell an audience about this person’s story through a short documentary? Some options might include following them throughout their day (“A day in the life”), or interviewing them and combining footage of their present life with home movies and old photographs. What do you want to communicate about this person? What do you want the audience to feel? Films must be under five minutes in length. c.Level 3: Advanced Silent Narrative Short with a “Twist Ending” (small group project) Have you ever made assumptions about someone else because of their skin color, gender, or cultural background? Has anyone ever made assumptions about you because of how you look or where you come from? Assumptions about people based on appearance, race, class, gender, or culture can lead to stereotyping. Stereotypes are oversimplified images or ideas about a person. This project is an opportunity to disprove a stereotype. Working with a team of three, discuss some stereotypes people have about each of you. Think about how you might disprove those stereotypes to create a counter-narrative. Counter-narratives are stories that detail the experiences and perspectives of those who are historically misrepresented, marginalized, or oppressed. Using a twist ending (see LOCKS in Unit II), you can disprove a stereotype about yourself or your peers in your short film. Films must be under five minutes in length (no dialogue). 2.Brainstorming a.Using Mind Maps (see next page), students can generate ideas around their topic of choice and begin initial brainstorming about what they want to communicate to an audience. b.For narrative shorts, students can place the stereotype or counter-narrative in the center of the mind map. For documentary portraits, they can put the person in the center of the mind map. Lastly, for experimental shorts, students can place themselves in the center of the mind map.
23 MIND MAP TEMPLATE
24 Day 2: Drafting Ideas and Creating a Production Plan 1.Depending on the project chosen, there are different activities that students can engage in to draft their ideas. a.Storyboarding (see template in Appendix B) b.Shot Listing (see template in Appendix B) c.Interview Questions for Documentary Subjects (see resource here: https://pulitzercenter.org/builder/lesson/six-tips-strong-interviews) d.“Where I’m From” Poems (see example: Where I’m From - Rethinking Schools) 2.Production Plan a.Prompts for students: i.What is your intention? What do you want to communicate to an audience? ii.What do you hope audiences will feel or understand after watching your film? iii.Who are the characters (or documentary subjects)? iv.What is the setting(s)? v.What is the story? vi.What is the mood and style? (this relates to cinematography and editing choices) vii.How might you play with time? How much time will pass? b.Students should work independently or in groups to map out their production plan (see template in Appendix B) c.There will be two days to film and record audio and two days to edit. Students will need to consider locations, actors or subjects, b-roll (shots that help to tell the story visually), and their roles on set if working in a group (e.g., director, cinematographer, editor, sound recordist). Day 3: Production Day 1 (independently) Day 4: Production Day 2 (independently) Day 5: Editing Day 1 (independently) Day 6: Editing Day 2 (independently)
25 Day 7: Feedback Sessions 1.Feedback sessions are opportunities for students to share their work with others, explain their intentions, connect their process to their final product, and listen to the opinions of others. It is advisable to create safe and supportive learning environments before engaging in feedback sessions; here is more information: https://www.edutopia.org/article/teaching-kids-give-and-receive-quality-peer-feedback/ 2.If time allows, each group and individual student can share their work with the whole class. Other options include small group shares or gallery walks where students can freely walk around the room and watch different films (with headphones). 3.Teachers might ask the student presenter(s): a.What was your original inspiration? b.Did anything change throughout the process? c.What do you hope audiences will feel or understand after watching your film? d.Is there anything specific that you would like feedback on? 4.Teachers might ask the class: a.What did you see? What did you think? What did you wonder? (See-Think-Wonder) b.What did you like, and why? *A helpful “Ladder of Feedback” from Harvard’s Project Zero can be found here: https://pz.harvard.edu/resources/ladder-of-feedback. Day 8: Refining An important part of the artistic process is to make revisions and refine ideas. After feedback sessions, the filmmakers can consider if any changes need to be made to their final projects. This is also time to add credits and titles. Day 9: Writing Artist Statements a.An artist statement is a paragraph describing the artwork or film. (see example in Appendix X). It could also be a video statement in which the young filmmaker reflects on their process, source of inspiration, or the issue they chose to unpack. The objective is for the artist to reflect on their process while explaining their intentions and how they achieved their goals. b.Here are some prompts students can respond to while writing their Artist Statement: i.Explain your vision or idea ii.Describe what you learned in the process iii.What difficulties arose? How did you work through them? iv.What do you hope audiences will learn or feel by watching your film? Day 10: Screening and Celebration of Short Films: It is important that student work is valued and celebrated! Create a screening for the class, school community, or larger community so students can share their work and discuss their learning process.
26 Appendix A - Article about Behind The Veil “Behind the Veil”: Documenting Early Short Films at the AFI Catalog American Film Institute Sarah Blankfort Clothier Abstract This article describes and makes a case for the importance of the “Behind the Veil” project at the American Film Institute (AFI), which involves unprecedented research of short films released in the silent and early sound eras for documentation in the AFI Catalog. AFI’s research not only assists the Institute’s ongoing efforts to record the profound influence of women and people of color to the creation, distribution, and reception of early cinema, but rectifies an inclination in film scholarship that has long favored featurelength titles — a partiality that has limited historians’ efforts to study how people from diverse communities made films and how they saw themselves on screen. With generous support from the National Endowment for the Humanities, AFI is on a mission to establish the foundation of a new canon that represents filmmakers, actors, and audiences who have been marginalized to date, offering a look “behind the veil” of historical bias to reveal the true breadth of America’s cultural legacy. Figure 1: Film still with actors Gertie Brown and Saint Suttle, William Nicholas Selig (dir.), SOMETHING GOOD-NEGRO KISS, 1898, USA.
27 The American Film Institute’s AFI Catalog of Feature Films (Catalog.AFI.com) is renowned as the world’s most academic and comprehensive chronicle of the first century of cinema history, which documents every American feature film and co-production released from 1893 to 1993. As the premier authority on film history, the AFI Catalog database helps to drive society forward, toward greater inclusion, by directly informing the content of scholarly texts worldwide and, thus, forever impacting America’s cultural heritage. But the AFI Catalog is not only a reference for academics; it also engages widespread audiences to discover more about the past and encourages new conversations about the art form of filmmaking and it shines a spotlight on storytellers from diverse backgrounds who have traditionally been omitted from the historical narrative. In 2022, AFI was awarded a grant from the National Endowment for the Humanities for a project titled “Behind the Veil” that was named after the lost 1914 short film directed by Lois Weber. This landmark initiative was inspired by a previous NEH-funded project at AFI called “Women They Talk About,” after the Lloyd Bacon directed, 1928 feature-length film. That project sought to remedy the long-standing omission of female filmmakers from the historical canon by documenting their prolific feature film contributions to early cinema in the AFI Catalog. While working on Women They Talk About, AFI’s team of researchers determined that it was impossible to tell the actual story of women’s impact on America’s cultural identity without also including their work in short films. Likewise, the AFI Catalog team observed a deficit of information about filmmakers of color due to the exclusion of short productions and concluded that it was critical for shorts to be a new area of exploration. “Behind the Veil” involves researching short films released during the silent and early sound eras for documentation in the AFI Catalog. The research not only assists the Institute’s ongoing efforts to record the profound influences of women and people of color to the creation, distribution, and reception of early cinema, but rectifies an inclination in film scholarship that has long favored feature-length titles – a partiality that has limited historians’ efforts to study how people from diverse communities made films and how they represented and saw themselves on screen. With generous support from the NEH, AFI is on a mission to establish the foundation of a new canon that represents filmmakers, actors, and audiences that have been historically marginalized, and to offer a look “behind the veil” of that historical bias to reveal the true breadth of America’s legacy. Since the "Behind the Veil” project began, AFI has discovered that academia’s focus on feature films has denied researchers access to key information about the heterogeneity and rich productivity of pioneer filmmakers. For example, Alice Guy Blaché is believed to be the first person to make a narrative film, THE CABBAGE FAIRY (Le fée aux choux), in 1896. In 1910, she started her own American studio, Solax, where she directed roughly 20 feature-length films, all of which are recorded in the AFI Catalog. However, when accounting for her short subjects, Blaché’s filmography includes over 300 titles, which have now been added to the database, including the groundbreaking and extant 1912 short, A FOOL AND HIS MONEY, which is believed to be the first narrative American film with an all-Black cast (Figure 2) (Gleeson White 2019). Data from this project may confirm or dispute this assertion when it is published in 2025. America’s inaugural Black filmmaker, William D. Foster, also established a studio in 1910 to produce films that portrayed African Americans authentically, without racial stereotypes and blackface, but none of these
28 important works were previously included in the AFI Catalog because they are short films (Figure 3) (Gaines 2001: 95). Lois Weber, who became the highest paid director in Hollywood, male or female, wrote and directed over 40 features, but she got her start in short films, of which she directed nearly 100 (Stamp 2015). Another example is director Ida May Park, who helmed fourteen feature films but wrote over twenty shorts that were not recorded in the database. The list of women and BIPOC storytellers during the silent era is long, though they worked mostly behind the camera, and in the short film format, especially as featurelength films became increasingly difficult to finance with higher production costs, which only increased during the advent of sound technology. Figure 2: Film still, Alice Guy Blaché (dir.), A FOOL AND HIS MONEY, 1912, USA. Figure 3: William D. Foster, circa 1910s, USA, n.d. Data for movie performers also demonstrates the challenges in documenting the true scope of the actor’s influence when short films are omitted. The list includes early Hollywood’s biggest star, Mary Pickford, who performed in over 80 shorts between 1911 and 1913, which were not included in the AFI Catalog until now. Likewise, Bert Williams, the first Black vaudeville celebrity, whose recordings sold millions, also wrote, directed, and starred in two 1916 short comedies, but neither were in the AFI Catalog before the Behind the Veil project. Also, Mabel Normand acted in over 220 films, but most of them were previously missing from the AFI Catalog (Figure 4). And the Japanese actor Tsuru Aoki made twenty short films between 1913 and 1915, mostly with Asian themes, and her titles are now included in the dataset. Other noteworthy actors include Sessue Hayakawa, Myrtle Gonzalez, Red Wing and countless others who got their start in short films, but whose credits were extensively truncated in the AFI Catalog due to the exclusion of shorts (Figure 5).
29 Figure 4: Publicity photograph of Mabel Normand in 1921, USA. © Associated First National Pictures. Figure 5: Tsuru Aoki and Sessue Hayakawa, William Worthington (dir.), THE DRAGON PAINTER, 1919, USA. Short films – defined by various institutions, including the Academy of Motion Pictures Arts and Sciences and AFI as films with running times of 40 minutes or less – are fundamental to our understanding of cinema and the contributions of underrepresented artists; however, they are “virtually unknown to film and media studies,” as noted by Cynthia Felando, who also discusses the “paucity of published material” on the topic (2015: 2). Leonard Maltin, one of the few film historians to publish books about shorts, has pointed specifically to the need for a comprehensive “encyclopedia of short subjects,” because they have yet to be acknowledged, documented, and examined in the historical canon (1972: x). Furthermore, there is little attention to the survival of early short films like there is for feature-length films; for example, the omission of shorts from the Library of Congress’s seminal report on extant feature films (which used the AFI Catalog as a primary source) demonstrates the general devaluation of shorts in academic scholarship and underscores the importance of creating a new dataset that can be used to quantify the number of shorts that have survived (Pierce 2013: 1). Nevertheless, short films that were produced in the first decades of American film history provide fertile ground for exploring popular themes in American society and they illustrate the historical significance of documenting motion pictures, particularly those that are lost. AFI has chosen to focus on this early period in motion picture history, as it is a time in which, according to scholars such as Jane Gaines, “more women held positions of power than at any other time in the U.S. motion picture industry” (2018: 9). During the 1910s and 1920s, the American film industry offered unique job opportunities for women, unheard of in other times and workplaces. As Karen Ward Mahar writes, female stars like Mary Pickford and Gloria Swanson earned some of the highest salaries in the world, and many more women worked in creative roles behind the camera…When in 1920 the Ladies Home Journal predicted that within five years the female influence will be fully ‘fifty-fifty’ in ‘Studio Land,’ it was more than wishful thinking (2006: 2). Black filmmakers also took to the silent screen in defiance of the racist depictions of African Americans in the highly canonized THE BIRTH OF A NATION (1915), which marked a milestone in the beginning of feature-length filmmaking. Though Black independent filmmakers were not working as prolifically as women, the 1920s marked “boom years” for African Americans who were “scrambling to embrace a
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