Entry+Activity

**Description and Objectives**
Though the following scenario assignment is rather ambitious for an entry activity, it aims to help students understand the constructed nature of texts they may have previously considered to be wholly objective or “true.” Students will complete a scenario activity that situates them in the role of student-producers creating a nonfiction short film about teen driving. Placing students in the position of filmmaker and producer gives them firsthand experience with the kinds of decisions that shape the final appearance of nonfiction films. While the term //documentary// may connote a simple documenting of reality, such films are rarely (if ever) made without a purpose or intended effect in mind. The desired outcome is for students to become more critical consumers of media through practicing the techniques employed by professionals. Additionally, students will have to make evaluations and judgments based on concepts of purpose, audience, and rhetoric. The assignment describes a storyboarding activity that could stand alone or be expanded to include a full digital film project.

**Student Drivers Make a Case**

 * Situation**: While [|statistics] show that traffic fatalities have declined in recent years, traveling by car remains the most dangerous form of transportation. In fact, motor vehicle crashes are the leading cause of death among people between the ages of 8 and 34, and many experts feel that teenagers and young adult drivers are at an even bigger risk. While you may disagree with such a blanket statement, the [|federal government reports] 4,462 motor vehicle fatalities among youth aged 16-20. From requiring driver’s education to restricting passengers to imposing curfews, lawmakers have attempted [|various regulations] in an effort to protect young drivers. These discussions often lead to proposals to change the driving age from 16 to 18, and such an idea has again been put forth in the Georgia State Legislature. The debate is in full swing, but you and your classmates have realized that student voices are conspicuously absent. You all want to enter the public discourse in some way but feel that the traditional route of “writing a strongly worded letter to your congressman” is hopelessly outdated and ineffectual. Rather than employing pen and paper (Ok, word processors), the idea of creating a short film (6-10 minutes) to support your argument seems to be a viable option. Armed with passion, creativity, and equipment from the media center, you set out to begin the project.


 * Task**: With your co-producers (groups of 2-3), develop a position, trajectory, and outline/storyboard for the kind of film you want to make. The first step is to come to a consensus on the issue. By no means must your group oppose the change; try to keep an open mind and think carefully about your decision. Remember that while this is a nonfiction project, it is in your best interest to make it not only convincing but also compelling for your viewers. That is, your creative and editorial decisions will be guided by rhetorical strategies as well as aesthetics. The outline you create should thoughtfully address the following considerations:
 * 1) **Interview Subjects**: Who is going to appear in your film and how will each person’s contribution support your purpose? Remember to keep your audience in mind here. While the subject matter is directly associated with teenagers, the target audience includes parents, professionals, and politicians. Also consider how conventional strategies of argumentation might affect which viewpoints you represent. That is, it will likely hurt your cause to ignore completely the perspectives of your opponents.
 * 2) **Visual Elements**: In addition to the interviews, how will your team take advantage of the visual medium? What kind of footage can you include to bolster your argument? Live, raw shots of drivers and traffic? Graphs and text showing data and statistics? File footage or still shots of grizzly car wrecks? The way you combine such aspects is entirely up to your team, but you need to support your decisions with sound reasoning.
 * 3) **Audio**: How can you best employ sound and/or music to affect the film's impact on viewers? How might you strike a meaningful balance between music/soundtrack (non-diegetic sound), natural background sound (diegetic), and perhaps even silence? The outline should show how the sound will change as the film progresses, but it’s not necessary to identify specific tracks at this point. For instance, the outline may indicate that haunting string music is barely audible behind shots of traffic accidents; however, such placement decisions need to be supported by a rationale indicating the intended effect on the audience.
 * 4) **Trajectory and Flow**: Your team must also address how you envision these elements coming together in the final cut. Three straight minutes of interview clips followed by three full minutes of accident footage will likely not capture the attention of your viewer or support your cause as a filmmaker. How will your film utilize cuts and transitions to hold the audience and make a convincing argument?

Each team will share its plan and vision in a brief presentation to the class. The members should be prepared to field questions from their peers and defend all creative and editorial decisions.