Part, Theme, Chapter
1 I, 1 | cinema if they want to see a film. The average age of the
2 I, 1 | see, in the same day, two film versions of the same story,
3 I, 1 | rehabilitated in Walter Hill's fine film), cannot fail to confuse
4 I, 1 | regard to TV as a whole.~The film, in my opinion, cannot be
5 I, 1 | possible;~B) The use of film index forms and questionnaires
6 I, 1 | educators and teaching staff.~FILM INDEX FORMS AND QUESTIONNAIRES~
7 I, 1 | necessary information about a film: cast, artistic and technical
8 I, 1 | take their class to see a film at the cinema or on video
9 I, 1 | more deeply the message a film has communicated to the
10 I, 1 | in which the story of the film is set, to find out whether,
11 I, 1 | investigating aspects of the film based on the Cognitive form
12 I, 1 | the pupil to examine the film document from its origins,
13 I, 1 | variety of themes: where the film is an adaptation of a book
14 I, 1 | the children to watch a film on a particular day on a
15 I, 2,Pre| underlying values in the film with those of the group,
16 I, 2,Pre| both in the analysis of the film chosen to be discussed and
17 I, 2,Pre| they feel when they see a film or how it compares with
18 I, 2,Pre| what kind of impact the film has and note the way motìon
19 I, 2,Pre| division of characters in film stories and cartoons into
20 I, 2,Pre| view.~Exercises~1. See a film or animated cartoon together~
21 I, 2,Pre| don't remember, show the film again.~What happens in the
22 I, 2,Pre| it crashed", but in the film we only heard a terrible
23 I, 2,Pre| reactions. Play extracts from film scores, and then, with a
24 I, 2,Pre| recognize various elements of film language and become aware
25 I, 2,Pre| point out that every shot a film director takes is intended
26 I, 2,Pre| Optional tasks.~See a short film together, or the introduction
27 I, 2,Pre| characters at the beginning of a film, and discuss what you have
28 I, 2,Pre| character's importance in the film, or the function of a sound
29 I, 2,Pre| only the beginning of a film allows us to analyse the
30 I, 2,Pre| a deeper analysis of the film and of their own receptive
31 I, 2,Pre| codes by making a video film.~Exercises~1. Get the group
32 I, 2,Pre| group to choose a current film and see it together.~Organize
33 I, 2,Pre| on the main themes of the film and the values it proposes.
34 I, 2,Pre| critical response to the film and lead up to a comparison
35 I, 2,Pre| daily life with what the film offers and with the values
36 I, 3,2 | be like? Why?~Was there a film which frightened you? Why?~
37 I, 3,3 | critical analysis of the comic (film, TV programme, etc.), help
38 I, 3 (4)| A critical analysis of a film, TV programme or novel could
39 I, 3,5 | frequently in magazines, film posters, etc. They are not
40 I, 3,6 | Questions of appraisal:~-What film or programme did you enjoy
41 I, 3,6 | Was there any particular film/TV programme or magazine
42 II, 1 | Hollywood. Other centres of film production, situated in
43 II, 1 | prevailing in the American film industry. European cinema,
44 II, 1 | language and art of cinema. The film industry and art cinema
45 II, 1 | style alongside those of the film industry.~Since its beginnings,
46 II, 1 | the tender mercies of the film industry (which in the following
47 II, 1 | of sentimentality, many film directors gifted with a
48 II, 1 | something similar in his film I confess (1953). The proximity
49 II, 1 | Is it really in the great film spectacles aimed at the
50 II, 1 | making a good religious film?~It is this yearning for
51 II, 1 | history which makes the film a valid object of study
52 II, 1 | surpassing artistry? The film has indeed done much to
53 II, 1 | contemporary world.~Faced with film products which exhibit these
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