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Baneza E. - Standards in the Translanguaging Classroom

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1. Theme
2. Genre
3. Summary
4. Plot
5. Characters
6. Purpose
7. Main Idea
8. Implicit
9. Explicit

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Study with Quizlet and memorise flashcards containing terms like theme, infer, topic and others.

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This new season of Simple Stories in Spanish is focusing on legends. The most well-known legend of the Spanish-speaking world is that of "La Llorona" or the weeping woman. She floats near water in search of her lost children. But you must be careful, because she may mistake you for one of her sons! This story features repetitions of the phrase "tiene miedo" (is scared) as well as the words "niño" (child), "mujer" (woman), "hombre" (man), "hijos" (sons/children) and "río" (river). La Llorona
Un niño camina a casa. Es muy tarde. No hay sol. La luna y las estrellas brillan en el cielo. El niño tiene diez años. Camina solo. Camina rápido. Es la noche y el niño está solo. El niño oye muchos ruidos en la noche. Oye animales. Oye el viento en las plantas. El niño tiene miedo. Pero, el niño no tiene miedo de los ruidos. El niño no tiene miedo de los animales. El niño no tiene miedo del viento. El niño no tiene miedo de la noche. El niño tiene miedo de las historias de un fantasma. El niño tiene miedo de la Llorona.

El niño escucha historias de la Llorona de sus amigos. Escucha historias del fantasma de su hermana mayor. Lee historias de la Llorona en un libro de cuentos de terror que tiene debajo de la cama. Pero su historia favorita de la Llorona es la historia que escucha de su abuelo.

El abuelo del niño cuenta de una mujer. La mujer vive en un pueblo pequeño cerca de un río. La mujer es muy bella. Tiene pelo largo y negro. Todos los muchachos del pueblo están enamorados de ella, pero ella es muy particular. Ella quiere una vida buena. No quiere trabajar mucho. Ella quiere ser rica. No quiere ser pobre.

Después de un tiempo, un hombre visita el pueblo. El hombre se enamora de inmediato de la mujer bella. El hombre es muy rico. El hombre compra ropa y joyas para la mujer bella. La mujer mira que el hombre es muy rico. La mujer decide vivir con el hombre rico.

El hombre rico y la mujer se casan después de poco tiempo. Entonces, el hombre construye una casa bonita al lado del río. La mujer está muy feliz con su esposo y su casa nueva. La mujer no tiene que trabajar mucho. La mujer no es pobre. La mujer y el hombre son felices.

Después de unos años, la mujer y el hombre tienen dos hijos. Pero su vida ahora no está feliz. La mujer es muy bella, pero su personalidad es terrible. Ella no es una persona buena. Es mala con su esposo y es mala con sus hijos. Es mala con los sirvientes de la casa.

El hombre rico no está feliz con su esposa. Entonces, un día, el hombre rico se va de la casa y no vuelve. El hombre toma todas sus cosas y se va. Toma su ropa. Toma su caballo favorito. Toma su dinero. Toma un poco de comida. Pero el hombre no toma a sus hijos. No toma a su esposa. Se va de la casa con sus cosas, pero no se va con su familia.

El hombre está triste. Está triste porque quiere tomar a sus hijos, pero no es posible. Entonces, el hombre da dinero a la mujer todos los meses para los hijos.

La mujer no está triste. Ella tiene su casa, tiene sus hijos y tiene sus cosas bonitas. La mujer recibe dinero todos los meses para cuidar a sus hijos. La mujer no necesita el hombre. La mujer continúa con su vida.

Pero un día, la mujer escucha que el hombre tiene una familia nueva. El hombre tiene una nueva esposa y un nuevo hijo. Cuando la mujer escucha que el hombre tiene una familia nueva, ella está enojada.

El hombre rico escribe una carta a su ex-esposa. Escribe que va a su casa por los hijos muy pronto. Escribe que quiere tomar a los hijos a vivir con él y su nueva familia. Escribe que cuando tiene a los hijos, la mujer no va a recibir más dinero. El hombre escribe que la mujer es una madre terrible que quiere el dinero y no a los hijos. El hombre escribe toda esta información en la carta. Entonces, un sirviente va con la carta a la casa de la mujer.

La mujer recibe la carta. Lee la carta. Lee que el hombre quiere tomar a los hijos a vivir con la familia nueva. Lee que no va a recibir más dinero. Lee que el hombre cree que ella es una madre terrible.

Cuando la mujer lee la carta, está furiosa. La mujer está furiosa porque el hombre quiere tomar su dinero y sus hijos. La mujer no piensa mucho en los hijos, pero sí piensa mucho en el dinero. Ella necesita el dinero. Ella necesita el dinero por la casa y los sirvientes en la casa. La mujer no quiere trabajar.

La mujer está furiosa con el hombre. Ella no quiere dar su dinero a la nueva esposa. Ella no quiere dar a sus hijos a la nueva esposa. Pero, la mujer no tiene muchas opciones.

En la noche, la mujer toma a sus hijos. Va con sus hijos al río al lado de la casa. Camina en el río con los hijos. El agua está fría. Los hijos tienen miedo. Tienen miedo de su madre porque ella actúa muy rara. Ella está loca con su furia por el hombre.

De repente, la mujer pone los niños debajo del agua. Los niños mueven y tratan de escaparse, pero no es posible. La mujer es mucho más fuerte que los hijos pequeños. Los hijos pequeños no mueven más. Los hijos están muertos. La mujer mató a sus hijos.

La mujer mira sus hijos muertos. De repente, está muy triste. Está arrepentida. ¡Ella no quiere matar a sus hijos, quiere matar a su ex-esposo! La mujer mira los pequeños niños muertos y grita:

-¡Ay, mis hijos!

La mujer está muy triste y ella camina más en el río. Entonces, la mujer desaparece debajo del agua.

Cuando el abuelo del niño cuenta la historia de la mujer bella, el niño escucha atentamente. Le gusta la historia. Le gusta que la madre está triste cuando mira sus pobres niños muertos. Pero al fin de la historia, el abuelo siempre repite algo y esto da miedo al niño:

-Nieto, necesitas tener cuidado cuando caminas cerca del río. La mujer bella no está muerta. Ella es un fantasma que llora por sus hijos. Ella busca a sus hijos. Y ella toma a los niños que caminan solos en la noche.

Ahora, el niño camina solo en la noche. El niño piensa en la historia de su abuelo y tiene miedo. El niño piensa en las palabras de su abuela, que la mujer toma a los niños que caminan solos en la noche, y tiene miedo. La calle a la casa del niño pasa un río. El niño camina más rápido cuando pasa el río. El niño tiene miedo, pero también, está curioso. El niño mira el agua. Hay una figura. La figura flota sobre el agua. Es una mujer muy bella con pelo negro. La mujer llora:

-¡Ay, mis hijos! ¿Dónde están mis hijos?

El niño mira la mujer. ¡Es la Llorona! La mujer mira al niño y llora:

-¡Ay, mis hijos! ¿Dónde están mis hijos?

El niño tiene mucho miedo. El niño corre. Corre muy rápido, pero no es suficiente. Una mano fría agarra al niño. La Llorona toma al niño. La Llorona toma al niño al río. La Llorona pone el niño debajo del agua fría del río y llora:

-¡Ay, mis hijos!

El fin.
You can also watch a video of this story on YouTube! ¡Muchas gracias por escuchar! Thank you for listening, and a HUGE thank you for your support. I really enjoy creating and sharing simple, comprehensible stories in Spanish. If you would like to help me in that endeavor, consider buying me a taco! You can download a printer-friendly PDF of this story. Looking for the English translation? I have a PDF for that too! Read a paragraph in Spanish and then read the English translation to see what you understood

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Season 3, episode 1 This new season of Simple Stories in Spanish is focusing on legends. The most well-known legend of the Spanish-speaking world is that of "La Llorona" or the weeping woman. She f...

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福娘童話集　きょうの日本昔話

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無料の昔話集の福娘童話集。桃太郎や浦島太郎や一寸法師など、まんが日本昔ばなしでおなじみの日本昔話をイラストとアナウンサーの朗読付きで366話掲載。

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Hair Love | Oscar®-Winning Short Film (Full) | Sony Pictures Animation

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Aesop's famous warning about a prank that went too far

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Webster's Encyclopedic Unbridged Dictionary of the English Language defines theme as "a subject of discourse, discussion, meditation, or composition; topic: . . ." In other words, a theme is the idea, premise, or purpose of a movie. It is the whole reason why movies are made.

The theme is the heart of the movie. The movie is regulated by the theme. The theme is why people go to the movies. It is not because of the characters, story, plot, cinematography, or genre. All of these elements are regulated by the theme. They demonstrate how the theme is displayed, yet most people do not know or understand what the theme is when they go to see a movie and when they discuss the movie afterward.

The producer, who does the hiring and firing of employees and finds the money to make the movie, picks the theme. Once the producer picks the theme for a movie, he or she will hire a writer, to create the theme, and a director, to express the theme on film. Or, the producer can look through completed scripts to find a script that exemplifies his or her preferred theme.

By the end of the construction of the theme, the script will contain a story or action plus a plot. Both of these elements, combined, produce the character development, which yields or reflects the theme. Essentially, all aspects of the movie revert back to the theme.

A short definition for the theme is: Story ( Action) + Plot = Character Development Yielding the T heme.

The above elements of the story, plot, and character development give meaning to the theme. These elements, as well as being discussed with regard to the theme, will be discussed from different viewpoints in succeeding chapters.

The theme-or idea or premise-of a movie can be expressed in one sentence. It may seem unusual that the purpose of a multi-million-dollar movie project begins with one sentence, and it may seem unusual that, at the end of the project with the completed movie, it all boils down to one sentence, but it really does.

Examples of themes can be analyzed by the period or decade in which a movie was made. Themes, and the resulting movies, are often a product and reflection of the social, economic or political climate of that time in history.

The importance of the theme cannot be overemphasized. The whole purpose and perspective of a movie is transformed when the theme changes.

Beginning with the early part of the 20th century, we will go through the different decades of the century into the 21st century, and we will briefly discuss the history of American society, in general, and how themes and, ultimately, movies changed during the century. This discussion will enable you to better understand how the actual construction of a movie changes in order to gain acceptance by the public.

Movie acceptance is based on themes. The themes indicated throughout this chapter change and develop. Seeing this change and development will help students understand themes and why movies are the way they are in the modern age.

Let's take a quick run through the decades with Jack and Suzie to see how they and their stories changed as history and society changed. We can speculate about how the producer determined the best way to demonstrate themes through the decades.

The 1920s

The 1920s, before the Great Depression, was a period of great prosperity, where society changed quicker than people could keep up. However, it was also a period of rigid class structure, the fear of Communism, and attempts to limit the power of the unions. The period also gave society Prohibition, flappers, parties, and gangsters.

What type of theme would emerge from this decade? Even though there is a certain segment of society who wants to see the real society of the period, people usually do not want to be reminded of the ills of society, and they want to escape them. But, the question is, "How large a segment of the population wants to go to see escapist fare, to forget the reality of the world for a few brief hours? The producer may attempt this type of theme in the belief that it would attract more people.

Like many times throughout history, producers have to take a risk on the possible movie-going taste of the public at that time in history, and they hope that the movie theme will make money. The producer may want to take a chance on a theme about the ills of a rigid class structure that does not allow true happiness-even though that is what people are trying to escape.

The premise for the theme could be shown by having Jack as a rich entrepreneur who falls in love with Suzie, a poor girl from the slums of New York City. However, he cannot have a lasting relationship with her because the rigid class structure of society at that time would not allow it. Because of society, they both become lost, defeated souls by the end of the movie.

How would Jack and Suzie present a theme that would allow an escape from the harsh realities of society? Jack could be a swashbuckler from the sixteenth 16th century or an adventurer in the Middle East in a period long before the 1920s, or he could even be a handsome cowboy. These three character types are complete escapist fare.

In the 1920s, what type of character would Suzie play to Jack's dashing hero? A damsel in distress would be the perfect character. She could be the damsel who is kidnapped, and Jack runs to her rescue, fighting untold odds to obtain her release. The action would be far beyond any type of reality, but the audiences would not care because they would be highly entertained, and they would be escaping the reality of their society for a little while at the movie theatre.

The 1920s was a period where the above characters could exist because of the rigid gender structure.

The 1930s

In the 1930s, during the Great Depression, people went to the movies to escape the harsh realities of poverty. Movies were one of the few, and possibly the only business, that showed a profit during the Depression, because people had such a strong desire to escape their lives for a while. So the theme in the 1930s could be emotional optimism-no matter how unrealistic it was.

Jack might be an unemployed artist, and Suzie a rich socialite who sees his paintings and likes them. After many humorous mishaps caused by Suzie, a relationship develops and builds until they finally live happily ever after.

The producer could have attempted this theme, even though it might be thin and unbelievable, to give people hope and the courage to return to reality. And with hope as the theme, the producer believes he could make money from the movie.

However, before the strict enforcement of the moral guidelines of the Motion Picture Production Code, the Hays Code, in 1934, and the harsh realities of the Great Depression, how people actually lived and acted could have been shown. The producer, in this situation, could become a great reformer.

Jack could be a World War I war hero, who has a good job and a girlfriend, Suzie. The Great Depression strikes. Jack loses his job, having to leave town to find work in another locality. However, he doesn't have the money for a vehicle. So, he walks from town to town, looking for work. Suzie gets word from a stranger that Jack has been hurt because he had to take a dangerous job to make enough money to marry Suzie. Suzie gets together enough money to go and see Jack, but she is too late. Jack died. This would really strike an emotional chord of the audiences of the 1930s. The audience might believe that these people are worse off than they were.

What would be the theme for this movie? Could the theme be one of encouragement to the people of this decade? Could the theme of the story be that no matter what happens, you have to try to continue-even if, at the end, you die?

In July 1934, when the Hays Code began to be strictly enforced by Joseph Breen, would the theme change? What would it change to? The story would be greatly toned down. Jack and Suzie would be boyfriend and girlfriend. Jack would lose his job because of the Depression, but he would become successful for another company. Jack and Suzie would obtain happiness by the end of the movie.

Let's move to the 1940s to see what themes that decade had to offer. I hope you are seeing how the theme of a movie is developed.

The 1940s

In the 1940s, World War II interrupted the lives of people around the world. Families were torn apart with men fighting in the South Pacific, Africa, or Europe. The families remaining at home in the United States wondered what would happen to their loved ones and themselves if the Axis powers won the war. With families ripped apart, society, the economy, and the labor force had to make adjustments to continue to function during those difficult times.

The producer had a wealth of choices to choose from and many locales around the world to consider. From all this material the producer would wonder what type of film would entice people to go to the movie theatres. The theme could possibly state that whatever needs to be done is done in order to bring the families together again or in hope of bringing families together again.

This theme could be demonstrated by Suzie going to work in a factory but keeping that special time of day when she writes her daily letter to her husband, Jack, who is in the infantry in Europe. This theme could be one of eternal love and never letting it die. This would be the type of theme that displayed the emotion that much of the American public was feeling, at the time, so this could be very popular.

Another theme that would have been popular during this period is one of action and winning the war in Europe and Japan. This type of movie would show Jack as an action soldier doing whatever it takes to obtain victory. Suzie would not be in this movie at all. It would be a "guy" movie with masculine themes.

The third theme could be dark and gloomy because the future was unclear, so everybody had to carve out his or her own existence in order to exist in the new world without families and the security of loved ones being close at hand. This theme could be demonstrated by Jack and Suzie working against one another to obtain something. Jack would be a loner thinking he is helping Suzie, while all the time she is working against him. Jack would not know this.

The movie with a theme of "do not trust anyone" might have been successful as a wake-up call to people at that time that hope and a happy ending were not always possible. This is a realistic theme that a producer might believe the public needed to understand. Once again, some people like this type of movie, so the producer could have believed this themed movie would be successful.

As society gets more complicated, movie themes become more numerous, and the earlier themes would have to be adjusted. As we move on, how would themes evolve? Would they become more numerous? How did or does society change?

The 1950s

The 1950s was a decade of huge change in the United States. In United States v. Paramount Pictures, a Hollywood antitrust case from 1948 broke up the Studio System, so movies became more competitive. This was also the period of McCarthyism, the Second Red Scare, and the Hollywood Blacklist, along with the Korean Conflict and the beginning of the Cold War.

At the same time, suburbia began, as everyone after World War II wanted to have their own homes. Within suburbia, the family unit was very strong. The popularity of drive-in movies and television provided activities that the whole family could be involved in, in order to keep the family unit strong.

People wanted more in their movies than in past decades. As competition for audiences grew, the themes had to become more sophisticated than before. The themes became more realistic with characters that had more depth and situations that were more adult. These realistic themes brought characters that had faults like the next door neighbor or somebody who the audience knew at work. The acting style changed, portraying the characters more three dimensionally and realistically. Themes from previous decades were no longer valid.

What type of theme would be reflective of the American society of the 1950s? What would be next for Jack and Suzie? How about a theme that simply states what is best for the family? If you were Jack or Suzie, what would you want that would encompass all the aforementioned occurrences of the 1950s?

Perhaps Suzie would want to get married and have a family, since this was an important part of the 1950s. Suzie, though, would have more individuality doing this than women during the decades of the 1930s or 1940s.

Jack, as the male head of the household, would be instrumental in providing the theme. The theme would be "doing the right thing" because it is what was best for the family. How could this theme be exemplified? What type of person would Jack be?

Jack would be any man who lived in a large city, small town, or a new suburban location. He could have had a job working in a factory or a position with a corporation. The job would be nothing glamorous, but he would be responsible to his family and his employer. Jack would be involved in something or he would have witnessed something where he had to decide what action to take for the betterment of Suzie, their relationship, and maintaining their family unit.

Suzie would have supported him in any action he took. Jack would do what he believed to be the most truthful scenario to arrive at the best course of action. To Jack, he performed the correct action, even though nothing would be any longer the same, but the family unit and his relationship with Suzie would have survived the best way possible. This means family above the job, if necessary. Generally, family and job survive if everything is done the ethical way.

The 1950s flourished with themes such as this one, and people continued to go to the movies.

The 1960s

The first half of the 1960s looked very much like the end of the 1950s. The theme, reflecting on Suzie or Jack as a tarnished person, could occur but within the acceptance of the morals of society. In addition, Jack would still be the dominate influence.

The theme, for instance, could be a social change that Suzie makes but Jack would orchestrate the change for his benefit. If Jack made the social change, then he ultimately succeeds on his own. Suzie could assist, but she would only be a supporting character.

However, a big difference in the liberality of the American society, or at least part of American society, occurred between the mid- and late 1960s. In the mid-1960s, society began a massive change in issues about fighting overseas and social norms, so a big change in movie themes should also be noticeable. This change was brought about by many factors. McCarthyism and the government, in general, became the enemy, along with corporate management. Animosity toward the Vietnam Conflict grew along with protesting the actions of the American government.

The role of women in movies was changing, caused by the second-wave feminism from the early 1960s. Women were becoming a controlling influence in the movies that were produced. Women were no longer defenseless and in need of male support. If you were part of the American public that experienced the change in the late 1960s, specifically from 1965 to the end of the decade, you wanted to watch and see the changed American public on the big screen.

In this type of changing thematic climate, we would begin discussing Suzie as the main character. She could be hard working and attempting to reach some degree of success. However, with this type of theme, Suzie would have a turning point where she discovers other people finding ways to circumvent getting ahead in a company or government by manipulating people to get the promotion rather than by working hard. In this type of atmosphere, Suzie would ultimately be found out by Jack. Jack would make sure, by the climax of the movie, that Suzie would receive her just rewards for the actions she took.

The 1970s

Let's jump to the 1970s, which was a decade of great social change that initially began being engineered in the second half of the 1960s. In this decade, the producer might have wanted a theme of accomplishment, especially for Suzie, because this was a period of enforcing gender equality. Title IX of the Education Amendments Act passed in 1972, providing educational equality for males and females.

"Never give up" may be Suzie's motto as she works hard at cutting through prejudice and bureaucracy to accomplish her goal. What type of theme would exhibit educational equality at the beginning?

The theme could be growth and development to gain what you want because prejudice has stopped you in the past. Or, sometimes you had to get angry to get what you wanted.

Suzie could express the desire to achieve educational equality by portraying a college student. She could start off by being naïve when she first begins her college career. She is the college student that just goes because it is free for her, and people believed in the 1970s that high school graduates should go to college because it was part of growing up. So, Suzie would start college and begin to wander aimlessly through the first semester of courses with no specific purpose or outcome in mind.

Then Suzie meets someone, Jack. Jack would have a need to succeed because he has a sibling to support because his parents have died. Jack is older and has realized he has to make something of himself in order to survive.

Suzie likes Jack and looks up to him. She even wants to mirror his desire for success. However, Suzie runs into a prejudicial roadblock at college. She fights to succeed and Jack assists her in her quest.

The theme would be very well expressed and quite pertinent in the 1970s, the decade of innovative themes, as women started to come into their own.

The 1980s

We have now progressed to the theme period of the 1980s. The notion of "searching" is often a central theme throughout history, but it seemed even more relevant in our rapidly changing society. What types of themes were predominant in the 1980s?

This decade contained the computer age, but also assassinations and act-alone crimes occurred. Was this the beginning of the age of negativity? Women became more prominent in space, movies, and politics. More women started to direct movies, but AIDS began in the 1980s too.

With these thoughts in your mind, what one or two themes would be the most reflective and expressive of the 1980s?

Jack believes that the 1980s is his decade. Jack wants to become all that he can be even though he has started a relationship with a girl, Suzie, he met in college. He tells Suzie that he is going to make his mark in the world, making a million dollars or two while he is at it. He adds that she can come along for the ride if she wants to.

She is just something added to his list, but Suzie decides to go with Jack's desired rise in power. Jack is slowly becoming successful, but through a mistake, while getting a physical to take an overseas trip, he contracts AIDS.

Suzie stays with Jack through the bad times with AIDS. She nurses him as best as she can. This was the beginning of an age where Suzie had the opportunity to follow her dreams. Nonetheless, she decides to keep a low profile and stay with Jack. Toward the end, Jack realizes what Suzie has sacrificed and done for him. He realizes what a jerk he has been for years and that the love of a person is more important than all the monetary rewards and accolades that one can achieve.

The theme is quite clear here.

The 1990s

The 1990s signified a new beginning. The old order of control and prejudice that had lasted for decades began to vanish. The Soviet Union was dissolved. Apartheid laws were repealed. The Cold War ended. And, wars, like Operation Desert Storm, occurred along with riots in Los Angeles, the bombing of the World Trade Center in 1995, and the Rwandan Genocide. And, the internet grew exponentially.

The 1990s was a foreshadowing of the 21st century violence and harsher conditions. What type of themes could be given to this decade? What type of people would Jack and Suzie be in this decade?

The theme that would predominate would be isolation in order to try to keep all of the negative changes away from Jack and Suzie. Being the 1990s Suzie would be doing the protecting this time.

Suzie is a single mother raising her son, Jack, as best she can. One day, she takes Jack from their home in the suburbs in the United States and moves to an out-of-the-way island. They establish a home. Conditions are harsh, and the lifestyle is not the same as their hometown. They adapt, but the progress and gratification that they were used to is missing. They return to their original home, knowing they have to adapt to a changing society rather than running away from it.

Based on the above, what other theme is appropriate? No matter what the circumstance, people are resilient. No matter how bad the conditions, people have to have hope.

Certain curious individuals exist who will stop a negative future by researching, discovering, and trying to make the necessary changes so the potential future does not occur. In this example, Jack and Suzie are economic researchers exploring ideas and potential trends to identify latent disasters that could occur. They discover a potential shortage of oil, which is beginning to get bad in the 1990s and will only become worse in the 21st century. They try to convince people of the disastrous situations that will happen but no one wants to listen.

Knowing what the future brings, how would you continue this story? What would the ending be?

The 21st Century

The 1980s and the 1990s have blossomed to a crescendo of computer advances, hatred, and violence. The ultimate culmination of the hatred and violence occurred on September 11, 2001 with terrorists attacking the Pentagon in Washington, DC and destroying the World Trade Center Twin Towers in New York City.

However, the progress that began in the 1980s with computers and electronics continued. This is a Brave New World where anything is possible. What theme can best express this era? How about trying to understand the actions of a few?

Jack and Suzie are a married, middle-aged couple living in a small town near a big city. They live alone because their children are married and have moved away out of necessity to find good jobs. They try to understand why all this violence occurs, but they cannot. So they decide to retire early and travel around the United States to find answers to their thoughts of why certain people act in a violent manner. Their conclusion becomes the same and is reflective of a 1990s theme. The ultimate conclusion is acceptance.

The notion of "searching" is often a central theme throughout history, but it seems even more relevant in our rapidly changing society. Themes also review the other side of the situation where, instead of searching, people dive into the current social ideals to see what they can get.

How could this theme be demonstrated? Let's follow an example of this theme.

Jack and Suzie are married and decide to join their friends in a competition to see how much money they can make. They are in it for "me" or themselves. They have been ego-centric for years as their friends disappear from their view. They ostracize themselves from their friends in an effort to bilk the public and make as much money as they can.

Finally, they realize, once they have made a fortune that they do not know what they really have? What have they really made? Are they fulfilled, or are their lives emptier than before they began? They find that they are all alone because nobody in their circles has reached their level of wealth.

Chapter Conclusion

You can see that history and society explain why certain themes became prevalent. The themes presented in this chapter are only examples of the types of themes that movies could be based upon that reflect a particular time period or decade.

Themes changed in subsequent decades as producers made movies they believed people would go to see. A theme is only limited by a director's or writer's imagination. A producer may believe that escapists or nostalgic fare may be popular and successful in a particular decade rather than exemplifying the ills of the society of that decade. If these movies are successful, they demonstrate the desires and interests of the current society. People want to see these types of movies because of the conditions their lives are in and the society that they live in. Whenever a theme is made into a movie, the producer is always taking a chance at what will be a popular, money-making success.

The remaining chapters in this book are more movie specific, discussing aspects of movies, themselves, rather than why we watch certain movies. We will discuss different formats that will make these previously described themes successful. The reason behind making movies is multi-faceted. You, as the producer, want people to think and analyze an idea, while packaging it so the viewer thinks it is just a piece of entertainment.

Before you advance into the next chapter, though, what would you say the themes of The Front Page, Detour, and Cyrano de Bergerac are? What are the main ingredients that go into creating these themes?

Now we will discuss why we get excited to go to the movies!

Let's begin by looking at the general raw ingredients that go into a particular type of movie to form a specific genre. What are also the main ingredients that go into creating the specific genres of The Front Page, Detour, and Cyrano de Bergerac?

Further Viewing

With the completion of this chapter, movies to watch that that are excellent examples of themes that have been produced throughout the different decades are:

Broken Blossoms, 1919, directed by D. W. Griffith, starring Lillian Gish, Richard Barthelmess, and Donald Crisp. This was a popular movie of the period. Does the theme reflect the decade?

My Man Godfrey, 1936, directed by Gregory La Cava, starring William Powell and Carole Lombard. How reflective of the decade is the theme in this movie?

The Maltese Falcon, 1941, directed by John Huston, starring Humphrey Bogart, Mary Astor, Peter Lorre, and Sydney Greenstreet. This is a good example of a new decade changing the type of movies filmed.

A Streetcar Named Desire, 1951, directed by Elia Kazan, starring Vivien Leigh, Marlon Brando, and Kim Hunter. This movie shows how themes changed after World War II.

Darling, 1965, directed by John Schlesinger, starring Julie Christie, Dirk Bogarde, and Laurence Harvey. This movie shows how themes changed after the second wave of feminism.

Assignment

The story begins at a critical junction. Jack and Suzie are in a waiting room of a doctor's office waiting for their best friend, Alec. Jack is Alec's next of kin as Alec is not willing to share any diagnostic results with any of his living relatives. Alec enters the waiting room and immediately goes to Suzie as the doctor calls Jack into his office.

The doctor tells Jack that Alec only has several months, possibly six, to live. When the disease gets intense, Alec will deteriorate very rapidly. Jack asks the doctor what the best thing is to do for him. The doctor is quiet for a moment and then he states that if he were Alec, he would want to go on one last fling. Jack leaves the doctor's office and Suzie asks him right away what the doctor said because Alec will not tell her anything.

Discuss the type of theme that this movie could have? How would you develop this movie synopsis for this theme?

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Exploring Movie Construction and Production

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Webster's Encyclopedic Unbridged Dictionary of the English Language defines theme as "a subject of discourse, discussion, meditation, or composition; topic: . . ." In other words, a theme is the idea, premise, or purpose of a movie. It is the whole reason why movies are made. The theme is the heart of the movie.

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A Guide to Themes in Writing and Literature | Grammarly

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Maybe it's about a young woman's entry into the workforce or a family's experience migrating to a new country. But it's about more than that. How does entering the workforce change the young woman, and how does the family cope with moving to a new place? The answers to these questions are the books' themes, the universal statements about life, society, humanity, and the world that their authors made through the narratives.

A story's theme isn't the same as its plot. It's bigger than that. Think of a story's plot as its body and its theme as its soul.

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What is a theme, and what is its purpose?

A story's theme is what the story is about-but not in the way you might initially think. A theme isn't the work's literal details like its character or setting. It's the universal message the story communicates.

Themes aren't limited to stories. Every kind of creative writing deals with themes: poems, plays, movies and television, and creative nonfiction. Any piece of creative work has a theme, even when that theme is "no apparent theme." Keep in mind that even when an author doesn't consciously write about a theme, their work still communicates type of underlying message-even if that message is mundane.

In contrast, business and academic writing don't have themes. These kinds of writing can be about themes, and you probably do quite a bit of writing about themes in your literature courses. But these types of writing exist to explain, argue, persuade, inform, and generate business, not to make a statement about people or the world they inhabit. Literature is art, and academic writing about literature is the interpretation of art.

Writers use themes to connect with readers through universal artistic statements. These statements can be profound, provocative, hopeful, nihilistic, and even silly.

10 common themes in writing

Certain themes come up again and again in literature. This isn't a coincidence-these are the themes we wrestle with throughout our lives.

Common themes in literature include:

In many cases, works that explore beauty as a theme explore the very concept of beauty itself. What is beauty? What makes something or someone beautiful? Other works explore and deconstruct beauty standards, sometimes in the context of how these beauty standards privilege one group over another.

Good vs. evil is perhaps the most well-known literary theme. Think of just about any novel or movie-the Harry Potter series, -and you'll likely find good vs. evil as the theme. Broadly, this theme is about how good and evil forces are, and always have been, at play in our world.

Loyalty is one of the forces that keeps friendships intact, families in power, and the status quo in place. In a story with loyalty as one of its themes, the author might explore whether these conditions are desirable-or if the loyalty keeping them in place is more destructive than beneficial.

Just like loyalty is a common theme, so is betrayal. You've probably encountered these themes together, as betrayal is the violation of loyalty. A work that explores betrayal might ask when betrayal is justified or explore the kinds of actions that constitute betrayal and the repercussions that can follow.

Family is another universal theme because it pushes us to consider where we come from, how we fit into social groups large and small, and how our formative experiences have shaped us. Stories with family themes might explore family dynamics, resilience, life cycles, and how ideologies are passed (or not passed) from generation to generation. They might also explore themes of love, loyalty, betrayal, and trust.

Power is a common theme because power is, like many of the other entries in this list, something all of us experience. Stories that deal with power themes might ask questions about how power is attained and retained, who holds power, how power is transferred, and the impact power can have on an individual or a group.

How to identify themes in writing and literature

To recognize themes in literature, look at what's going on beyond the story's literal action. Ask what the characters are thinking and feeling and what might be motivating their actions. Authors often use both direct characterization and indirect characterization to create three-dimensional characters. These characters' actions, reactions, and roles in their settings often communicate the story's themes.

Look for , too. Authors often use symbolism to communicate themes. For example, one of the primary themes in J. R. R. Tolkien's Lord of the Rings series is death and immortality. The One Ring can be interpreted as a symbol of this because of its circular shape. Consider how certain symbols might be examples of or allegory, like how George Orwell used allusions to real political figures in Animal Farm , an allegory with themes of inequality, power, and control.

Close reading

One strategy you can use to identify themes in literature is close reading. Close reading is the process of critically reading works, paying close attention to the author's word choices, use of literary devices , text format, and patterns to infer the author's thoughts about their subjects. If something sticks out to you, like an intriguing or formatting that's not quite the norm, take note of it. It could be a device the author used to communicate their work's theme.

In literature, recurring patterns are known as As you read, pay close attention to any motifs you recognize because these often communicate a work's themes. In Margaret Atwood's The Handmaid's Tale , we see a motif of biblical references. These communicate the novel's theme of the dangers of theocracy.

3 steps to create your own theme in writing

Your story's theme should be on your mind throughout every stage of the writing process . As you brainstorm, think about the statements you want to make in your work. Jot these down, then jot down any potential symbols or concepts you can use to illustrate these statements.

Keep in mind that for some readers, themes emerge later. So if you want to explore a setting, character, or plot point but aren't sure which themes to explore quite yet, that's perfectly fine. Write your story the way you want to write it, and see where the narrative takes you. It can be helpful to keep the idea of a theme in the back of your mind as you write because this can guide you to plot points, plot twists, and details to include.

Remember, you're doing creative writing. There are no hard-and-fast requirements like there are with academic writing.

When you read your first draft , you might find patterns emerging. You might even see themes emerging. Build on them in the second draft.

If you aren't quite sure how to execute the devices that communicate your theme, read or watch works with similar themes. Take note of how these authors and directors communicated their works' themes and think about ways you can similarly use devices in your own work.

What is a theme in literature?

A work's theme is the universal message it communicates.

How do themes work?

Themes provoke readers to think critically about the statements they make. A work's theme might challenge a dominant cultural narrative or drive readers to view a specific character archetype through a new lens.

What are some common themes?

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A Guide to Themes in Writing and Literature

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1. What is theme?
2. What factors make up theme?
3. What is the purpose of theme?

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Theme | English For Kids | Mind Blooming

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How to Make Google Slides Look Good & Professional! *full tutorial*

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面白いストーリーになるかどうかはテーマで決まります。

テーマをちゃんと構築できたら名作に。できなければ駄作で終わります。

天才と凡人の差が一番出る部分でもあります。テーマを構築して面白いストーリーを作れるのが天才と呼ばれる人たちです。主人公がただ頑張るだけの話しか作れないのが凡人。

天才の領域への挑戦になるので難しいことは覚悟してください。

テーマとは何か

テーマとはそのストーリーの中で描かれる人生のことです。

ストーリーというものを使って観客に人生を実感させます。

ストーリーを通して人生の本当の姿を浮かびあがらせると言った方がわかりやすいでしょう。

普通に暮らしている分には実感できないもの、意識にのぼらないもの、隠れているもの、見落とされているもの。

こうした普段は見えないものがテーマになります。

わたしたちには人生が見えていません。見えないまま生きています。その見えないものをストーリーを通して描きます。

なかなか見えないものだからこそテーマを描くことには価値があります。それを鮮やかに浮かび上がらせるからこそ人々はストーリー・物語を求めてやみません。

「テーマとは何か？」それを学ぶ上で一番わかりやすい教材は、実はお笑い芸人の鉄拳が作ったパラパラ漫画の『振り子』です。youtubeに置いてあるから誰でも無料で見れるし、たった4分ほどの作品なので忙しい人でも大丈夫。

そしてこの『振り子』にはテーマが単純な形でわかりやすく出てきます。プロの作家ではないからこその単純明快さです。

『振り子』のテーマは、無情に過ぎていく時間です。その中でしか生きられない人間の切なさが描かれています。

男と女が出会って結婚して子供を作って、やがては老いて死んでいきます。そういう単純な話を振り子の絵を効果的に使って描いています。動きつづける振り子が時間の流れをうまく表現しています。

このパラパラ漫画がたくさんの人から称賛されたのはクライマックスシーンで主人公の想いが強く出ているからです。動いている振り子を止めて老いた妻の死を必死に食い止めようとします。しかし当然ながら止まりません。

老いて死んでいくのは人間のさだめです。無情に流れていく時間の中でしか人間は生きられません。

しかし普段の生活で時間の無情さを感じる機会なんてあるでしょうか？

時間が流れていることに気づくのは手遅れになったときです。『振り子』でも主人公が必死に時間を止めようとするのは妻が死ぬときです。

こうした人生の本質は普段は見えません。言われないと時間の無情さや怖さってわかりませんよね。

テーマが力を持っているのはこの普段は見えないものを観客に実感させる力があるから。

見えないものを描くというのが非常に重要なポイントとなります。

ひとつだけ間違ってはいけない重要なことは、『振り子』が大勢の人の涙を呼んだのは、老いた妻が死ぬからではないということ。

時間を止めようとしているのに止まらないその無常さ、人間の無力さこそが涙へつながるポイントです。

さだめに抗えず老いて死んでいく人間の姿が切ないのです。過去を後悔して時間を戻そうとしても戻らないから切ないのです。

「登場人物が死ねば観客は泣くのではないか」

「崇高な愛をうたいあげれば感動するのではないか」

ストーリー作りで一番間違いやすいこの2つのお涙頂戴要素が『振り子』には含まれています。でも感動のポイントはそこではありません。時間というテーマを描いているからこそ感動が生まれます。

こうしたことも学べる『振り子』という作品はまさに教材として最適なわけです。

少年時代の終わりを描いた『風スローダウン』

テーマとは何かを学ぶ上でもうひとつ別のわかりやすい例を出しておきます。

取り上げるのは島田紳助が作った青春映画『風スローダウン』。こちらもお笑い芸人が作ったものだけにわかりやすい。

この映画は少年時代の終わりがテーマになっています。バイクレーサーを目指す主人公やその友人たちに少年時代の終わりが訪れる話です。

「プロのバイクレーサーになりたい」そう夢見ながら青春時代を過ごす主人公。でもバイクレースの世界もそんなに甘くない。お金のない自分を見限って恋人が他の男と結婚しそう。どうすればいいのか。夢をあきらめるのか。

永遠に子供のままではいられません。でもそれに気づく少年などいません。そのときになってはじめて少年時代の終わりが来ていることに気づきます。

『風スローダウン』の主人公だってバイクレーサーを目指す青年のままで永遠にいられるわけがありません。終わりのときがやって来ます。そのときに人生が本当の姿を現します。

主人公はそれ気づき、大人の道へと足を踏み出していきます。

芸能人が撮った映画だけにいろいろと傷もある作品です。でもプロじゃないからこそのストレートさとクサさを持った青春映画です。興行収入とか評判とか一切考えず、自分の描きたかったものをそのまま撮った感じです。こういう映画はプロの監督には撮れせん。

どストレートな作品だけにテーマがとにかくハッキリときれいに出ています。

少年時代の終わりなんてみんな経験しています。でもそれを意識できた人がどれだけいるでしょうか。実感できた人がどれだけいるでしょうか。

少年時代に終わりが訪れることは絶対の真実です。でも人間はそれに気づきません。

しかしそんな隠れていて見えなかった少年時代の終わりが、人生を決定づけてしまったりします。

人生は形なきものです。だから本当の姿など普段はなかなか見えません。それなのにちょっとした出来事が将来へ特大の影響を及ぼしてきます。

これを描くのが物語というやつです。

見えないものを描くという気持ちを忘れてはいけません。見えないものをテーマに据えて人間の生き様を描くからこそ、物語には価値があります。

まずはテーマをシンプルに捉えるところからやってみよう

テーマを用いて人生の本当の姿を描き出しましょう。それによってストーリーに意味が生まれます。

しかし難しく考えすぎると作品がいつまでたっても書けなくなります。ここまで解説してきたのは原理原則です。最終的に目指す場所という捉え方でいいです。

鉄拳の『振り子』にしても島田紳助の『風スローダウン』にしても一番上手くいった成功例です。さすがにいきなりこのレベルを目指すのは無謀です。最終目標ぐらいに考えておいてください。「テーマとは何だろう？」とわからなくなったときに基本形として思い出せばいいです。

実際に自分で作品を作っていくときは、ここまで哲学的である必要はありません。高尚である必要もありません。テーマを小難しく考えすぎてしまうと逆に失敗します。

むずかしいことが出来るようになるコツは、単純化して考えることです。まずはシンプルに捉えるところからスタートしましょう。

面白いストーリーというのはオモテのストーリーと裏ストーリーの2枚合わせになっています。オモテのストーリーは事件を担当。テーマは裏ストーリーが担当します。「テーマとは裏ストーリーのことだ」と単純に考えてください。最初のうちはそういう認識でOK。

実際、裏ストーリーを用意して2枚合わせ構造にちゃんとなっていれば、テーマはそれなりの形になるものだし、それなりに効いてくれます。

いきなりむずかしく考えると逆にうまくいきません。まずは単純な捉え方で。

テーマを作り慣れていない人はまずは単純に考え、裏ストーリーを作ることに専念しましょう。どんな裏ストーリーを用意すればいいのかといえば、間違いが正される話です。

『振り子』の主人公も時間が流れていることにずっと気づきません。間違っています。妻が死ぬときになってやっと人生に気づきます。

バイクレーサーを目指す『風スローダウン』の主人公も間違っています。恋人が他の男と結婚しそうになったときにやっと少年時代の終わりが来ていることに気づきます。

間違いが正される話を裏ストーリーとして用意する。そうすれば人生の本当の姿を浮かび上がらせることができる。

とりあえずこのようにおぼえておきましょう。

↓

それを描く方法
「間違いが正される話を裏ストーリーとして用意する」

一番まずい選択は、難しいからと何も手を付けないこと。何もやらないこと。

「テーマとは裏ストーリーのこと」そういうシンプルな捉え方でも最初はいいから、とにかくやってみましょう。やることでその経験が自分のものとなり、どんどん力がついていきます。

テーマはけして高度なものではありません。世界がいったいどのようになっているのか。そんな世界で人間がどのように生きているのか。それを描けばいいだけです。それが人生を描くということ。娯楽映画にさえ備わっているものです。

娯楽映画はエンターテイメント要素によって面白さが支えられていますが、でもその裏にはテーマがしっかりとあって、しっかり効いています。

一番わかりやすい例は映画『ロッキー』

クライマックスの試合のシーンで観客が感動するのは、ロッキーが頑張っているからではありません。あきらめていた人生をなんとか取り戻そうとしている姿に胸を打たれます。

ロッキーは自分の人生をあきらめていました。つまり間違った考えを持っていました。この間違いが正される話を裏ストーリーとして設置しています。

これによって人生の本当の姿を浮かび上がらせています。

限界というものは自分自身が枠をはめて決めてしまっています。そのせいで自分自身には本当の可能性が見えません。自分に何が出来るのか、どこまで出来るのかが人間にはわかりません。だからロッキーも自分を枠にハメてあきらめていました。

こうしたテーマの核心部分を最初から考えすぎると、無駄にむずかしく感じてストーリー作りが進まなくなります。

だからまずは単純に考えましょう。

裏ストーリーをちゃんと作ってオモテと裏の2枚合わせにします。

無名の3流ボクサーがただチャンピオンとの対戦に向けて頑張るだけの話にしてはいけません。オモテのストーリーだけでは退屈な映画にしかなりません。ちゃんと裏ストーリーを用意しましょう。

『ロッキー』の場合主人公は、最初の頃は自分の人生をあきらめています。でもチャンピオンとの試合に向けて始動していくうちに止まっていた時間が動き始め、やがては自分の人生を取り戻そうという気持ちが芽生えます。

最初は間違っているけど、戦いの中でそれが正される。こういう話が裏ストーリーとして用意されています。だからこそ「可能性」についての人生の本当の姿が浮かび上がってきます。

テーマはどうしても難しく感じるものです。「人生の本当の姿を描かないといけない。見えないものを描かないといけない」そんなふうに慣れないうちから難しく考えてしまうと、何をどうやればいいかわからなくなります。

高尚なテーマを語る必要はありません。つい見落としがちなものを用意すればいいだけです。みんながやってしまいがちな間違いを裏ストーリーとして用意しましょう。

簡素なテーマでも名作になる

エンターテイメント作品や短編はテーマが簡素です。でもちゃんと効果を発揮して名作に仕上がっています。

こうした簡素なものこそ「テーマとは何か」を学ぶには最適です。いくつか例を見ていきましょう。

SFパニック映画の『エイリアン』もテーマがわかりやすく効いてる娯楽作品です。

宇宙船になぞの凶悪生命体が入り込んでしまってそれを退治しようとする話です。宇宙という人間の手に負えない大きなものの怖さがテーマとして含まれています。

調子にのって宇宙開発をしたり身勝手に星々をどんどん汚染していくと、わかってない宇宙の怖さに遭遇するぞという話です。

エイリアンをただ退治するだけの話ではありません。そのオモテストーリーに対して「宇宙の奥深さ・宇宙開発の恐さ」という裏ストーリーが用意され、ちゃんと2枚合わせになっています。

もしテーマがなくてオモテストーリーだけだったら『エイリアン』は途端につまらない映画になります。ヤバそうな生き物が宇宙船に入ってきたのですぐに排出ボタンを押してエイリアンを宇宙の彼方に吹き飛ばした。めでたしめでたし。そんなつまらない話になってしまいます。

エイリアンとの戦いにちゃんと意味を持たせる必要があります。これを描くのが裏ストーリーです。

宇宙船に入り込んできたものが何なのかわかっていない承をしっかり描かないと面白くなりません。このわかってなさこそがテーマです。宇宙をわかった気になっている人間の姿そのものです。

わかっていないせいで船員がどんどん死んでいきます。船員たちだけではなく観客さえも想像できなかった姿をエイリアンは見せはじめます。

承の後半に入ると主人公たちはやっと自分たちの間違いに気づきます。どうやらとんでもなく危険な生命体に遭遇しているぞと。間違いに気づいた主人公たちはもう宇宙船ごと爆破する作戦に方針を転換します。

こうしたテーマを絡めたストーリー展開が『エイリアン』という映画を面白くしています。

昔話の『浦島太郎』にもテーマがわかりやすい形で出てきます。

『浦島太郎』のテーマは簡単に言ってしまえば「行ってはいけない場所に行ってしまった男の話」です。

本当は亀など助けてはいけなかった。交流などしてはいけなかった。竜宮城などにも行ってはいけなかった。さらに浦島太郎は竜宮城で長居までしてしまいます。帰り際にはもらってはいけない玉手箱までもらってきてしまいます。

この見落としがテーマです。でも人間はこれがわかっていません。

平和な現代人にはわかりにくい見落としですが、浦島太郎の話が作られた当時は人なんて簡単に死ぬ時代です。浜辺に食料を取りにいったまま帰ってこない人なんていくらでもいました。森の奥に入っていったまま帰ってこない人なんてよくいた時代です。

その恐さを描いた昔話が浦島太郎です。人生にかくれ潜む闇の部分ですね。

帰ってこなかった人たちがどんな目にあったのか。それを想像して話は作られています。帰ってくるチャンスは何度もあったはずなのに帰ってこれなかった人たち。

だからこそ玉手箱を開けたらおじいさんになってしまわないといけません。お礼の小判がザックザクではただの道徳的な話になってしまいます。そんなつまらない話は後世に残りません。そんなものはオモテストーリーしかない意味のない物語です。

浦島太郎はテーマを内包しているからこそずっと語りつがれてきました。行ってはいけない場所に行って帰ってこれなくなるという裏ストーリーが物語中ずっと効いています。

絵本の『おおきなかぶ』も単純なテーマで出来ています。

畑に大きなカブが埋まっているのを見つけた。

でもなかなか抜けないのでどんどん手伝いの人が増えていく。おばあさんから犬から猫から総動員でカブを引き抜こうとする。

でも抜けない。

しかし最後に小さなネズミが手伝いに加わるとやっとカブは抜けた。めでたしめでたし。

この絵本のテーマは何かといえば、みんなで力を合わせることの大切さとかそういうことではありません。最後のネズミが大きな意味を持っています。一見些細に見えるものこそが物事を動かす。それを描いた話です。

エジソンの名言「1％のひらめきと99％の努力」と同じような意味です。1％のひらめきがないと99％の努力は無駄になります。

でも人間にはそれが見えていません。あともうちょっとでカブが抜けるのにチャレンジをやめてしまいます。

足らないのは1％のひらめきです。ネズミのひと頑張りです。これが物事を動かします。

ストーリー作りなどはまさにこれに当てはまります。完成まであと一歩なのにあきらめてしまう。名作になりそうなのに1％のひらめきがないせいで駄作に終わる。

この足らない1％のひらめきが何かといえば、ストーリー作りにおていはテーマです。テーマこそがネズミのひと頑張りにあたります。

まずは単純な捉え方から始めましょう。テーマはむずかしいものに思えるけどネズミ程度に考えておけばいいです。

裏ストーリーさえあればなんとかなります。まずは裏ストーリーを作ることに慣れてください。

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テーマとは何か？【物語・ストーリー】

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面白いストーリーになるかどうかはテーマで決まります。 テーマをちゃんと構築できたら名作に。できなければ駄作で終わります。 天才と凡人の差が一番出る部分でもあります。テーマを構築して面白いストーリーを作れるのが天才と呼ばれる人たちです。主人公がただ頑張るだけの話しか作れないのが凡人。 天才の領域への挑戦になるので難しいことは覚悟してください。 ...

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ما هو الموضوع؟ | تعريف الموضوع وأمثلة | الشروط الأدبية

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ابحث عن أمثلة للموضوعات في الأدب وتعريف السمة في ❰ StoryboardThat ❱ ✩. استخدم المرئيات لمساعدة الطلاب على تحديد الموضوعات في الكتب التي يقرؤونها!

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Un escritor puede comenzar a escribir una historia (cuento o novela) de muchas maneras. La primera es dejarse llevar por la propia historia, sin planificación y con la única ayuda de una brújula interna que, parafraseando a Stendhal, empuja las ideas. La segunda es planificar todo concienzudamente, y aferrarse a esa guía. La tercera, cuarta, quinta... son las infinitas combinaciones posibles de ambas, es decir, planificando pero con cierto margen de flexibilidad, como lo hacen la mayoría de los escritores.

El autor debe tener claro qué son el tema, el argumento y la trama ﻿Clic para tuitear

Sea cual sea el método que se adopte, hay tres aspectos que, antes de empezar a escribir, el autor debería tener bastante claros: tema, argumento y trama. Supongo que la expresión bastante claros resulta un tanto desconcertante, pero tiene su explicación. A veces ocurre que la inspiración nos trae una frase o una imagen con la cual empezar una historia y el tema, el argumento y la trama son una intuición que se consolida a medida que avanza la escritura. Pero eso, antes o después, debe ocurrir porque si no la historia andará a la deriva sin mayor sentido ni provecho.

¿Cuál es el tema?

Hace poco una amiga escritora me comentó que tenía en la cabeza una idea para un cuento. Le pregunté cuál era el tema y me hizo una síntesis de la historia. Entonces le dije que ese era el argumento pero que lo que importaba era el tema, la tierra firme sobre la cual construiría todo el relato.

El tema es el asunto del que trata la historia, el fondo, el hueso que estará presente en todo su desarrollo. Lo que una madre es capaz de hacer por sus hijos. Las consecuencias emocionales de las mentiras. La falta de libertad de expresión en un país bajo una dictadura militar. Las consecuencias psicológicas del incesto. El amor prohibido (Romeo y Julieta). La envidia y los celos (Blancanieves).

"[...] otra cosa muy importante también que es Al querer contar algo sobre ciertos temas; sabemos perfectamente que no existen más que tres temas básicos: el amor, la vida y la muerte. No hay más, no hay más temas, así es que para captar su desarrollo normal, hay que saber cómo tratarlos, qué forma darles; no repetir lo que han dicho otros". El desafío de la creación, Juan Rulfo.

El argumento

El argumento es el conjunto de acciones que realizan los personajes en el desarrollo de la historia, dispuestas en orden cronológico (había una vez un señor que hizo esto, y luego aquello, y después esto otro, y al final pasó esto), y sin relaciones causales. Por ejemplo: Dos hermanos son abandonados en el bosque por sus padres. Se pierden, encuentran una casita de chocolate y se quedan a vivir con su dueña, una anciana que resulta ser una bruja que encierra al niño y lo engorda para comérselo, mientras la niña tiene que hacer tareas de la casa. Pero los niños logran engañar a la bruja, y consiguen huir y encontrar el camino para reunirse con el padre. (Hansel y Gretel, Hermanos Grimm.)

La trama

A partir del argumento (sucesión en orden cronológico de los hechos, sin relación causal), elaboraremos la estructura de la historia, es decir, la trama: la forma en que presentaremos los hechos, que puede coincidir o no con el orden cronológico del argumento, y sus relaciones causales. La trama impone la estructura del relato, desde la cantidad y extensión de los capítulos de una novela, hasta las anacronías: el relato puede empezar por el principio ( ab ovo), por el medio ( In media res), por el final ( In extrema res), contener retrospecciones (analepsis o flash back), o prospecciones (prolepsis o flash foward). La elección de la estructura no es, de ningún modo, algo intrascendente. Por el contrario, en ella nos jugamos captar o no la atención del lector, y esto debe ocurrir desde las primeras líneas del relato.

Entre las definiciones de trama de la Real Academia Española, encontramos dos especialmente útiles:

1. Conjunto de hilos que, cruzados y enlazados con los de la urdimbre, forman una tela.

Una novela es un tejido de historias que se cruzan y enlazan, un mundo compuesto de personajes que se interrelacionan, y un hilo o historia principal y varias subtramas, pero que aportan significación a la principal. En cambio, el cuento teje dos historias, una superficial, y otra secreta o subterránea que emerge en el desenlace.

2. Disposición interna, contextura, ligazón entre las partes de un asunto u otra cosa, y en especial el enredo de una obra dramática o novelesca.

Los cuatro elementos que sostienen la estructura narrativa son los personajes, el espacio, el tiempo (con sus anacronías y con el uso de las unidades narrativas), y la focalización (el punto de vista del narrador). Al margen de la estructura de introducción, nudo y desenlace, la trama se construirá de acuerdo a la disposición de estos elementos y la relación que se establezca entre ellos. De ese modo, el espacio contribuirá a la construcción de los personajes, a la creación de la atmósfera, entre otras funciones. La unidades narrativas regularán el ritmo, omitirán hechos sin significación y, en su caso, crearán suspense. El narrador aportará la voz adecuada al relato y el enfoque y nivel de información.

La trama impone la estructura de la historia y las relaciones causales. ﻿Clic para tuitear

Uno de los problemas más recurrentes en los escritores en ciernes es que en lugar de mostrar la trama, explican el argumento o no objetivan el tema, y esto es lo más alejado de la construcción de una vivencia emocional para el lector. Pero eso, es otra historia.

Puedes leer también " Argumento y trama, el corazón del proceso creativo "

Imagen destacada: Skyler Smith, Unsplash.

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Un escritor puede comenzar a escribir una historia (cuento o novela) de muchas maneras. La primera es dejarse llevar por la propia historia, sin planificación y con la única ayuda de una brújula interna que, parafraseando a Stendhal, empuja las ideas. La segunda es planificar todo concienzudamente, y aferrarse a esa guía.

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A peek at how I teach my third graders to find the theme of a story! #teachertok #iteachreading #thirdgrade #lessonideas #teachingontiktok

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@adrienne_teaches
A peek at how I teach my third graders to find the theme of a story! #teachertok #iteachreading #thirdgrade #lessonideas #teachingontiktok
♬ Juice - Lizzo

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What’s a theme? #fyp #viral #school #booktok #teachertok #teachersofinstagram #books #writing #writingtok #essay #essayhelp #write #teacher #highschool #middleschool #learn

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@beyersbooks
What’s a theme? #fyp #viral #school #booktok #teachertok #teachersofinstagram #books #writing #writingtok #essay #essayhelp #write #teacher #highschool #middleschool #learn
♬ original sound - BeyersBooks

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Los Rojos - El Junior Presumido ( Video Oficial )

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1. Students will be able to define what theme is and its purpose in a story.
2. Students will determine the different factors that create theme.
3. Students will use evidence from the text or film to support their reasoning of the factors and purpose of theme.
RL.8.2

Determine a theme or central idea of a text and analyze its development over the course of the text, including its relationship to the characters, setting, and plot; provide an objective summary of the text

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1. Students will learn about different types of story telling by looking at stories from all around the world.
2. Students will learn how to differentiate the idea of theme by comparing and contrasting stories
3. Students will determine how each different theme would impact different cultures.

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(Checking for Understanding)
Students will actively discuss with each other and share what they believe theme to be with each given story or video.

Students will keep track of the implicit and explicit factors they decide contribute to the theme of each story by using a google doc/poster

Students will be constantly checked on/called on as they work

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1. Students will effectively communicate their understanding to their classmates about their understanding of theme.
2. Students will present their findings in their L2 after having the opportunity to discuss and analyze in their preferred language.
3. Students will have a complete understanding of new vocabulary words

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Students will create a slide show presentation based on the theme the found in the story or video of their choice. They will talk about the different factors they identified to make up the theme of the story and back up their findings by using direct quotes and explanations, along with why they chose that story or film.

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1. Develop language skills by using material in various languages and hold discussions on their preferred language
2.

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LAVA | Pixar's 'Lava' Preview - Disney Pixar Short Film | Official Disney UK

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https://teachingmadepractical.com/teaching-theme-so-students-actually-understand/

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Teaching theme to 3rd grade, 4th grade, or 5th grade students is just plain HARD. Theme is an abstract idea, making it really difficult for teachers to put into words and really hard for students to grasp. If your students are struggling with understanding theme, rest assured that they are not alone! Teachers all over the world have this same struggle.

Teachers often teach theme by creating anchor charts that list common themes or that list questions students should ask themselves when trying to determine the theme of a passage or story. These are helpful and good strategies to use, but most students will still have no clue how to determine the theme independently just through the anchor charts. There are other strategies you can use to help scaffold student understanding.

Why Teaching Theme is Hard

Students struggle with theme because it is unlike anything else they have learned in their ELA classroom.

In order to identify the theme of a text, students must also have the ability to summarize important parts of a text so that they have a clear understanding of what an entire passage says. Students must be able to distinguish the theme from the main idea. They must understand what lesson the author is trying to teach and recognize that they can disagree with the author's point of view. They must have a solid grasp of story elements and how characters change. They must be able to make inferences.

On top of all of that, students must understand how to actually determine the theme - no wonder teaching theme is so hard!

A Different Way To Teach Theme

In order to teach theme so students actually understand, first make sure they have at least been introduced to all of the other skills necessary for understanding theme, especially main idea. Find resources for teaching some of these skills below:

Once students have a solid foundation, practice each confusing aspect of theme in isolation. Start with smaller chunks of text - even as small as one paragraph - and make sure students really understand before moving onto larger text. This will help you determine where students are really struggling. It also scaffolds your instruction so struggling students are not overwhelmed.

The aspects of theme that I have found confuse students the most - as well as ideas for teaching each aspect - are below.

Themes aren't usually stated in the passage. To help students better understand this, have students read a paragraph with a clear theme. Tell students the theme of this paragraph, using a thinkaloud to explain how you figured it out. Go back and reread the passage, showing students that the theme was not stated anywhere in the passage.

Completely different stories can have the same theme. Seeing the same theme played out with a variety of different characters and plots can really help students better understand how to determine the theme. Read several very different paragraphs, each with the same theme to students. Download a freebie to help you with this here.

Theme and main idea are different. This is essential for students to understand, but very hard to teach. To help students understand this, have them read a short passage with a clear theme. Then, write 5 statements - 3 details from the passage, the main idea of the passage, and the theme of the passage. Do not tell students what is what, but instead have them figure that out. Doing this activity repeatedly really helps solidify students' understanding of the difference between main idea and theme. If your students are still struggling with main idea, then this activity will also help them be better able to differentiate between main idea and details.

You don't have to agree with the theme. This is particularly important in a world where biased information is available everywhere. Students need to know that they do not have to agree with everything they read. A good way to do this is to show students two paragraphs with opposing themes and have students discuss which theme they agree with more. For example, you could have a paragraph with the theme of "You can always trust your friends" and another paragraph with the theme of "If you want something done right, you have to do it yourself."

A reading passage or text can have more than one theme. This can be confusing to students, as not all passages have more than one theme, while novels almost always do. Build up to determining the theme of novels by showing students shorter passages with at least two themes.

Themes are meant to apply to real life. This is an important aspect of theme - themes are not just a lesson for the characters in a story. The author intends for people to learn from the theme of a story. To practice this, read short passages with clear themes and, after identifying the theme, ask students how they could apply it to their own life. (Or have them explain why they wouldn't want to apply it to their own life.)

After practicing each of these aspects of theme in shorter passages, students will be much better equipped to understand and determine themes in longer literature and novels.

Never Stress Over Sub Plans Again!

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Teaching Theme So Students Actually Understand

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Teaching theme to 3rd grade, 4th grade, or 5th grade students is just plain HARD. Theme is an abstract idea, making it really difficult for teachers to put into words and really hard for students to grasp. If your students are struggling with understanding theme, rest assured that they are not alone!

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Other Multilingual Resources fro Teachers 

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Other Multilingual Resources fro Teachers 

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Federal Resources

U.S. Department of Education (ED)
ED's mission is to promote student achievement and preparation for global competitiveness by fostering educational excellence and ensuring equal access.

Resources from county offices of education and LEAs

Multilingual Academic Support (MAS)
The MAS unit provides professional development, supports LEAs with Title III technical assistance, coordinates network meetings, and offers English Learner authorization Bilingual Teacher Training Programs (BTTP) classes to teachers and administrators.

Resources from Institutes of Higher Education & Non-Profit Organizations

Questions: Language Policy and Leadership Office | 916-319-0845

Last Reviewed: Wednesday, June 22, 2022

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Other Multilingual Resources - Resources (CA Dept of Education)

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Links to English learner information and resources outside the California Department of Education website.

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Analyzing the themes in a literary work can be tricky for students, but a simple formula can scaffold the process.

Tribune Content Agency LLC / Alamy Stock Photo

Theme is slippery. As with irony, we know it when we see it, and though it's easier to define than irony, it still poses a challenge for students. Discussions of theme, then, can be times when students feel they're not up to the challenge of literary analysis-and this is true particularly for students who tend to struggle with reading and writing.

This presents ELA educators with a challenge, since students as early as fourth grade are asked to identify and analyze themes in text.

So what is a teacher to do? How can we teach our students about theme in such a way that we're not skipping over reading comprehension, insisting on a "correct" answer, or unintentionally doing the heavy lifting for our students?

Over the course of more than a decade in the classroom, I developed a methodology for empowering students with a process for not only identifying a text's thematic components but also constructing original thematic arguments.

Thematic Triads

The first thing students need to know is that, generally, works of literature are about ideas that are larger than the actions or events involving the characters, and very often these ideas pop up over and over again. One place to start with thematic analysis is to create ever-growing lists of these ideas, called thematic components-love, revenge, and so on.

The process I came to call thematic triads boils down to this: Have students identify many thematic components in a text, put them into groups of three, turn one of these triads into a sentence, and voilà, they have an original thematic argument.

This gives students a systematic process for identifying thematic components and thematic statements, a process that enables them to build their skills, and one that shifts analyzing theme away from something intimidating to something that is doable.

But what does this actually look like? The process starts with a definition of a thematic component-a large idea present within a text-and a brainstormed list of some common thematic components: love and revenge, as mentioned above, but also power, greed, freedom, corruption, fate, free will, ambition, lust, violence, youth, family, pain, fear, etc. The list of possibilities is probably endless.

It's very useful to have anchor charts with lists of these ideas in classrooms so that students can, as they read, refer to the charts and identify thematic components as they arise in texts. As students read, they can transfer these thematic components to the inside back cover of their book, for instance, ensuring that the themes are always at hand and student-generated.

The next step in the process is to turn these thematic component lists into groups of three, or triads. When beginning this process, it's important to emphasize that there are not correct and incorrect triads, and that the goal is not to find a single correct thematic statement. This can empower students, particularly those who have struggled in ELA classrooms in the past. Let students know that it can be highly instructive to choose a triad at random, see whether it works or not, and then try again.

An Example of a Thematic Triad

For the sake of illustration, let's imagine that we're reading Animal Farm with students, and that a classroom discussion surfaces these thematic components: power, greed, freedom, corruption, law, and camaraderie. Students might decide to group together greed, freedom, and corruption.

The final step is to turn the triad into a sentence-the thematic statement. Students often struggle with this, wondering in particular how to start. I would advise them to start each sentence with the word when, and think of the thematic statement as running along the lines of "When this happens, then that happens." This is a great time to model a think-aloud strategy that gets students to see and hear how a scholar goes about using this process to identify theme.

Let's take a look at what a thematic statement for Animal Farm might look like, using the triad that students chose. One possibility: "When one's greed overtakes one's desire for freedom, it can lead to corruption."

This may not be the most insightful, original thematic statement in the world, and in all likelihood the first few times students go through this exercise, they will struggle and not be satisfied. That's good-it means they're invested in the process and will try again, and improve every time they try.

What all of this requires of teachers is a thorough, insightful, and nuanced understanding of any text they're teaching. We cannot stay one chapter ahead of our students and expect to guide them to an authentic level of analysis-we need to know what thematic components are located in the text, and which thematic statements are viable and which are not. In short, we must be the literary scholars we are grooming our students to be.

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Analyzing the themes in a literary work can be tricky for students, but a simple formula can scaffold the process. Tribune Content Agency LLC / Alamy Stock Photo Theme is slippery. As with irony, we know it when we see it, and though it's easier to define than irony, it still poses a challenge for students.