Objectives
By examining literary works in the unit course and by looking at the handiwork of African and African-American directors, producers and film editors, students will be able to explore implications of societal value of Black people and the effect of this on issues of self-worth. This will lead students to investigate their place in the world and provide them a secure footing to express themselves in the future without denigration of their humanness. They will be able to celebrate what they have to offer the world in a more positive and socially acceptable manner.
This unit proposes to examine the ramifications of the Black film industry both in Africa and America. We shall focus on American "race" films and expose students to their mind mapping, and stereotyping. This unit will give students a framework to assess how one feels, what one remembers, how one thinks, through the viewed expression of self by Black directors. We will also cover visual perspectives and views of the Black experience as mass marketed by others.
Students will be prompted to further their knowledge of language, diction, dialect and syntax through both literary works and the films viewed. Some of the films will correspond with works of literature; others will have been produced and written expressly for the silver screen. This unit will give students a knowledge base that through historical accounts and biographical information will help them understand the course of action of filmmakers' decision-making.
This curriculum unit probes matters concerning the visual imagery surrounding students including the glorifying of violence, the self-degradation of Blacks, the exploitative lewdness of spirit in film and the savoir-faire tactics of American propaganda tools used in so many films and videos. No matter how intimidating the environments for learning, we will ask students to progress in studying film. This unit will offer students avenues of reconciliation of self by delving into the Black film industry. By offering a learning environment that celebrates the phenomenal intellect of Black writers, directors and filmmakers, past and present, students will be given the wherewithal to forge ahead. The creative energy that has emerged in Black film and in the explosion in popularity of Hip-Hop cannot be ignored within this unit.
I have designed this unit to be used in support of teachers of students in the high school classroom setting. This unit will fit the mold for teachers with students in advanced or regular English language arts classes, social studies classes and for students in film and/or cinematography classes. This unit will be appropriate for use in classrooms of various racial make-ups.
Through studying historical elements in African and African-American cinematography, students will be able to approach state curricular academic standards with competence and will be able to successfully engage in the challenges they will have to meet. While on the other hand, teachers will be able to include the School District of Philadelphia's new initiative of academic inclusion of African-American history and literature into their classrooms. In doing a unit of this type we will also stimulate the study of Black film. This unit will begin opening the doors of Black filmmaking and will allow students to breathe, in respect to who they are and where they come from.
The curriculum unit will begin with a series of mini-lessons on film analysis skills and film terminology. Utilizing both current and historical African-American and African films, the study focus will lean more towards Blacks in film through the use of a predetermined template/rubric that will separate the various facets of movie creation (technical, narrative, and cultural). Students will develop the practice of thoughtful and analytical viewing; and, as a unit-ending group project, will be expected to create their own film script and production notes. They will gain an insider's sense of what is required to convey one's own story effectively. Students will never again just "watch" a movie without meaningful understanding and reflection.
Lessons will also include geographical and historical viewpoints for further understanding of the political and socioeconomic messages that are prevalent in most films. The study of foreign language will not be covered since all African films viewed will have English subtitles. However, language patterns will be discussed in regard to colonization of African regions as well as regional dialects of Blacks in America.
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