# data[].attributes.headline
Glossary of  Satirical and humorous techniques/ Liza Donnelly's cartoons

# data[].attributes.subject
Glossary of  Satirical and humorous techniques/ Liza Donnelly's cartoons

# data[].attributes.body
Travel Blog

# data[].attributes.headline
Breaking down Satire:  hyperbole, exaggeration, overstatement and understatement

# data[].attributes.subject
Breaking down Satire:  hyperbole, exaggeration, overstatement and understatement

# data[].attributes.body
Context is Literary here Short stories - Harrison Bergeron ( overstatement) and Omelus ( Understatement).

# data[].attributes.attachment_link.readable_text
Burlesque literature is a form of satire. It is often and perhaps best described as "an incongruous imitation." The purpose of burlesque literature is to imitate the manner or the subject matter of a "serious" literary genre, author, or work through a comic inversion. Imitations of manner might include the form or the style, whereas imitation of matter is meant to satirize the subject being explored in a particular work or genre.

Elements of Burlesque

While a burlesque piece may aim to poke fun at a particular work, genre, or subject, it is most often the case that burlesque will be a satire of all of these elements. What is important to consider about this mode of literature is that the point of the burlesque is to create an incongruity, a ridiculous disparity, between the manner of the work and the matter of it.

While "travesty," "parody," and "burlesque" are terms that are often used interchangeably, it is perhaps better to consider travesty and parody as types of burlesque, with burlesque being the generic term for the larger mode. That being said, it is also important to note that a burlesque piece may employ a number of techniques which fall into the larger category; it is not necessarily the case that all burlesque literature will share all of the same features.

High And Low Burlesque

There are two primary types of burlesque, the "High Burlesque" and the "Low Burlesque." Within each of these types, there are further divisions. These sub-divisions are based on whether the burlesque satirizes a genre or literary type, or, instead, a specific work or author. Let's take a closer look at these types.

High Burlesque occurs when the form and style of the piece are dignified and "high," or "serious" while the subject matter is trivial or "low." The types of high burlesque include the "mock epic" or "mock-heroic" poem, as well as the parody.

A mock epic is itself a type of parody. It imitates the generally complicated and elaborate form of the epic poem, and it also imitates that genre's rather formalized style. In so doing, however, it applies this "high" form and style to rather ordinary or insignificant topics. A significant example of a mock epic is Alexander Pope's The Rape of the Lock (1714), which is elegant and elaborate in style, but which, on its surface, has only a lady's curl as its subject.

A parody, similarly, will imitate one or many of a variety of characteristics of a piece of high, or serious, literature. It might mock the style of a certain author or the features of an entire literary genre. Its focus might also be an individual work. The point is to employ those same features and characteristics, at a high or serious level, and exaggerate it while simultaneously employing a low, comic, or otherwise inappropriate subject. Parody has been the most popular form of burlesque since the early 1800s. Some of the best examples include Jane Austen's Northanger Abbey (1818) and A.S. Byatt's Possession: A Romance (1990). Parody predates these, however, appearing in such works as Joseph Andrews (1742) by Henry Fielding, and "The Splendid Shilling" (1705) by John Phillips.

Low Burlesque occurs when the style and manner of a work are low or undignified but, in contrast, the subject matter is distinguished or high in status. The types of low burlesque include the Travesty and the Hudibrastic poem.

A travesty will mock a "lofty" or serious work by treating the high subject in a grotesque and undignified manner and (or) style. One classic example of a modern travesty is the film Young Frankenstein, which mocks Mary Shelley's original novel, (1818).

The Hudibrastic poem is so-named for Samuel Butler's Hubidras (1663). Butler turns the chivalric romance on its head, inverting the dignified style of that genre in order to present a hero whose travels were mundane and often humiliating. The Hudibrastic poem might also employ colloquialisms and other examples low style, such as the doggerel verse, in place of traditionally high style elements.

The Lampoon

In addition to High and Low Burlesque, which include parody and travesty, another example of the burlesque is the lampoon. Some short, satirical works are considered lampoons, but one might also find the lampoon as a passage or insert into a longer work. Its goal is to make ridiculous, often via caricature, a particular person, usually by describing the nature and appearance of the individual in an absurd way.

Other Notable Burlesque Works

The Comedies of Aristophanes

"Tale of Sir Thopas" (1387) by Geoffrey Chaucer

Morgante (1483) by Luigi Pulci

The Virgile Travesty (1648-53) by Paul Scarron

The Rehearsal (1671) by George Villier

Beggar's Opera (1728) by John Gay

Chrononhotonthologos (1734) by Henry Carey

# data[].attributes.attachment_link.description
Burlesque literature is a form of satire. It is often and perhaps best described as "an incongruous imitation." The purpose of burlesque literature is to imitate the manner or the subject matter of a "serious" literary genre, author, or work through a comic inversion.

# data[].attributes.headline
Glossary for Persuasive Language techniques 

# data[].attributes.subject
Glossary for Persuasive Language techniques 

# data[].attributes.body
Works for all persuasive texts from speeches, editorials, articles, letters to the editor, adverts and more

# data[].attributes.attachment_link.readable_text
Introduction

News podcasts and documentary podcasts, like news stories or visual documentaries, adhere to specific codes and conventions in order to develop accuracy and maintain certain ethical standards that a listener would not find in a theatrical or dramatic podcast. One way of thinking about the difference between the two is fiction and nonfiction. A dramatic or theatrical podcast is fiction. They are free to play with the truth, embellish, even create storylines in order to establish a relationship with the audience. However, a news or documentary podcast is like nonfiction. Their job is to bring balance, insight, and a certain level of objectivity to a subject by remaining as faithful to the source(s) involved.

Why it Matters

In 1938 Orson Welles made an infamous radio broadcast the night before Halloween. " The War of the Worlds " was a dramatic broadcast, but it employed elements of news reporting, like news bulletins, which caused confusion in the audience and panic in certain parts of America. This "Hoax Broadcast" blurred the lines between news broadcasts (nonfiction) and dramatic broadcasts (fiction) and shows the importance of an audience being able to distinguish between fact and fiction.

More recently, Alex Jones, radio show host of the Alex Jones Show and owner of the Infowars website, publicly apologized for his role in promoting "Pizzagate," after a gunman opened fire in a restaurant. The " Pizzagate" conspiracy theory claimed Hillary Clinton and members of her presidential campaign were running a child sex trafficking ring out of Washington D. C. pizzeria. Jones has also used his radio broadcast to claim that the Sandyhook School Shooting was staged and that the US government played a role in the 9/11 Terror attacks. Like his broadcast, his news site Infowars is an example of fake news.

Seeing it in Practice

Every broadcast podcast needs to be analyzed critically by an active, engaged, and most importantly, an educated audience. Use the criteria below to critically assess the codes and conventions of broadcast podcasts to assess its purpose.

codes and conventions of broadcast podcasts
Balance
A podcast must be balanced in order to show both sides of an argument to ensure it in not biased. Both sides of the story must be shown fairly for a podcast to achieve this. Balance can be considered in terms of the amount of time a podcast spends exploring each side of an issue or if the opposing side is given the opportunity to have a voice. This technique allows a podcast to create depth with its subject and present a multifaceted story, in lieu of a single story.
Bias
A good news or documentary podcast dedicates a great deal of energy to maintain a neutral point of view. Examples of bias can easily be found in language. This is why a podcast host chooses his or her language carefully, or allows the subject of their podcast to speak. An example of biased identified from " Megyn Kelly Reports on Alex Jones and Infowars " was Jones's use of "Liberal Trendies" to describe the victims of Manchester Concert Terrorist attack.
Subjectivity
While a good podcast should maintain a neutral tone that does not mean that the purpose of the podcast is neutral, or that the podcaster(s) do not have an emotional connection to their subject. In fact, a good podcast will allow the audience to know and understand the personal feelings, tastes, and opinions of the podcaster(s) on an issue or subject. They do this to fully explore the issue, but also pay careful attention to not let their subjective ideas and opinions impact the impartial tone of the podcast.
Opinion
The tricky issue with opinions expressed in podcasts is how to balance them with facts. A good podcast will often cite a specific reason based upon a verifiable fact to arrive at a claim. Not all opinions are equal. Often, logical fallacies inform our opinions about a subject or issue, so a podcast must carefully examine and analyze the rationale behind opinions they express and the opinions expressed by those they interview.
Representation
Fairly representing a subject is crucial in an ethical story. Statements that can put a person in a false light or misrepresent someone is not only unethical, but also potentially illegal. This is where language and issues of balance and bias come into play. A good podcast chooses its language carefully to thoughtfully explore an issue without accusing or falling into a logical fallacy.
Objectivity
Being objective in a podcast considers balance, bias, subjectivity, opinion, and representation to allow the viewer to come to their own conclusions about an issue. If a podcast fails to remain objective, then they risk losing credibility with their audience.
Privacy
Privacy is an important ethical concern for any podcast. The people at the heart of a particular story have specific legal protection from invasion of privacy. Thus, an ethical podcast usually relies upon direct interviews, facts, and information already available in the public domain in lieu of gossip and rumors to ensure that the information portrayed is relevant and in the public interest.
Impartiality
The language used to describe the individuals and issues being discussed in a podcast needs to be impartial. If the tone and language is too impartial, then a podcast risks bias. Having a podcast refer to an act as "evil" or describe someone as "no good" or "rotten" breaks impartiality and brings issues of unfair representation or too much subjective opinion into play instead of facts.
Credibility
A credible podcast will use facts sourced from resources that are checked for accuracy. To do this, a podcast might pull information from news reports, police files, or court documents. Often, a source of information used in a podcast is a personal interview. Podcasts might complete multiple interviews and ask many people the same or similar question in order to arrive at the truth. The tricky part about credibility with a personal interview is that human sources may not recall exact details or possibly even lie. A good podcast presents these interviews impartially and closely analyzes their content to present an objective story.

# data[].attributes.attachment_link.description
News podcasts and documentary podcasts, like news stories or visual documentaries, adhere to specific codes and conventions in order to develop accuracy and maintain certain ethical standards that a listener would not find in a theatrical or dramatic podcast. One way of thinking about the difference between the two is fiction and nonfiction.

# data[].attributes.attachment_link.readable_text
Given the recent rise in podcast popularity, it's no surprise that audio narratives are making their way into the classroom. They offer an engaging way for teachers to merge project-based learning with digital media analysis and production skills.

That's why we run our annual Student Podcast Contest, in which we invite students to submit original podcasts, five minutes long or less. The 2020 contest runs from April 9 to May 19.

The mini-unit below walks students through the process of analyzing the techniques that make for good storytelling, interviewing and podcasting. The activities culminate in students producing their own original podcasts.
Note: For those teachers who may be technophobes, please don't be intimidated by this technology-dependent lesson. Programs for audio editing are intuitive and easy-to-use, especially for many students. If you are a novice to audio recording, you may want to attempt to create your own one-minute podcast as a way to experience firsthand what students will encounter during the process.

_________
In this section, students analyze the elements and techniques of both podcasting and storytelling, because stories are often at the heart of podcasts. Then, students practice telling a story aloud before moving on to interviewing in Part II. Warm Up: Elements of Podcasts
Poll the class to see how many students are familiar with podcasts. If any students are, ask them to share their favorites. What did they enjoy about the podcasts they mentioned? What were the subjects? What elements of the podcasts do they remember: the interviews, conversations, music, sound effects or anything else?

Next, while listening to each of these three short podcast excerpts (between one and three minutes), students should take notes using this notetaking sheet (PDF) on both the episode topic (what is being said or discussed) and the production elements (the various aspects of the podcast that create the listening experience).

* Modern Love " R We D8ting? | With Krysten Ritter" (Segment: 1:00 - 3:16)
* The Daily " The Right to Bear Arms" (Segment: 0:00 - 2:36)
* Still Processing " Take a Knee if You Agree " (Segment: 0:00 - 1:27)

After you listen to all three excerpts, share as a class. What did students notice about the subject matter? What did they notice about the formatting and techniques used within the podcast? How were the three podcast excerpts similar? How were they different?
Mini-Lesson: Podcast Project
So students understand how these activities are building toward a larger goal, explain that the class will be creating original podcasts for this mini-unit. Students can work individually or in small groups. The podcasts must be five minutes or less - and while that might sound like a short amount of time, if students want to produce quality audio it really isn't.

The podcast topics can be inspired by one of the Learning Network's 1,000-plus writing prompts. That should give everyone plenty of options, but if students don't see the exact topic they want to investigate in their podcast, they can come up with their own topics.

Finally, as the Warm Up activity demonstrated, there are many different types of podcasts. Some consist largely of conversations between the hosts; others are based on interviews; still others involve mostly storytelling, nonfiction or fiction. Podcasts serve different purposes too: some try to make you laugh; others aim to keep you in suspense; some want to educate or inform. Students should keep all of these possibilities in mind as they consider what they want their original podcast to be like.
Activity: Elements of Storytelling
Storytelling is a key ingredient in many podcasts, so we're going to spend time in Part I introducing students to the art of telling an interesting story. Working in pairs or small groups, students should briefly discuss and take notes using this handout (PDF) about the elements and techniques of effective storytelling. The questions below can help start the discussion:
Think about stories your parents, family or friends have told you - or that you heard on the radio or somewhere else. What are the elements and techniques of great storytelling? How can stories we hear, but can't see, be sometimes even more powerful than stories dramatized or documented on TV or in film?
Then they should listen to one or more of these short audio stories in their groups (and follow along with the transcript, if available). As they listen, students should continue taking notes on the same handout on what elements and techniques of storytelling are being used.

* "When the Civil War Ended, She Was My Age" from StoryCorps
* " The Coal Miner" from The World According to Sound
* "Seeking an End to Cycles of Abuse" from Radio Rookies

When you regroup as a class, ask students: What elements and techniques did you notice? Which ones do you think are the most essential to good storytelling? The class can compare its list with the elements of good storytelling included in this handout (PDF) and then add any elements or information the students think is missing.
Activity: Telling a Story
Next, as an in class activity or homework, ask students to look over the Learning Network's list of over 1,000 prompts. (If this list feels too big, we have various shorter versions for personal writing and argument writing, along with a stream of our most recent prompts.) Have them circle or highlight topics that interest them and that they might want to talk about or explore further in a podcast. They can select as many topics as they want, but should aim for at least five.

For example, here are a few topics students might select:

* Do You Know About Your Family's History?
* What Was Your Most Precious Childhood Possession?
* What Ethical Dilemmas Have You Faced?
* Are You Distracted by Your Phone?

From their list, students should choose one question to tell a story about, as a way to practice storytelling. To prepare, they should first write down their ideas as a rough draft or outline.

Then, they should practice telling their story to a partner. As partners listen, they should keep track of which elements and techniques of effective storytelling are being used (perhaps using the same handout), and provide feedback to one another after listening.
Wrap Up
Have the class share how the storytelling activity went. Did students incorporate the elements and techniques of effective storytelling discussed in class? If there's time, invite a few students to present their stories to the rest of the class.

Students should now be at least a little familiar with the elements that make for good podcasts and storytelling. What's next? Analyzing and practicing effective interviewing techniques, another ingredient central to many podcasts. Warm Up: One-Minute Interviews
From the list they already highlighted, ask students to choose a prompt they could pose as a podcast interview question. Tell students they are going to practice taking on the role of interviewer and interviewee, and they will have one minute to conduct an interview. Interviews should take up the entire minute, so if there is extra time, interviewers should be ready to ask follow-up questions.

Set the timer to one minute and have students interview a partner. When time is up, have partners switch roles for the next minute.

After both interviews are completed, discuss the activity as a class. How did the one-minute interviews go? Did the interviewee speak for the entire time? Did the interviewer ask any follow-up questions? What kinds of follow-up questions worked well? Students should take notes using this handout (PDF).
Mini-Lesson
As a class, watch this Radio Rookies video (above) about a particular type of interview - the vox pop, or on-the-street, interview. Students should continue adding notes on interview techniques. After the video, do a quick share.
Activity: Elements of an Interview
Vox pops are just one kind of interview. Often interviews are prepared, meaning the interviewee has time to think about the questions in advance (as opposed to the vox pop) and the interview includes multiple questions and takes place in a more formal, or at least quiet, setting.

In their small groups, students should listen to the three brief audio clips below and take notes on the same handout.

Invisibilia: Episode 1: Dark Thoughts (Segment: 0:00 - 2:40)
The Daily: Fired Over an Instagram Post (Segment: 0:00 - 3:45)
StoryCorps: Gregory Bess and April Gibson (Segment: 0:00 - 2:36)

For "The Daily" episode, students might notice that the interview questions are sometimes edited out - so the listener just hears the interviewee's responses. Students might even guess what the missing questions were.

Then regroup as a class. What interviewing techniques did you hear? Which ones do you think are the most essential to good interviewing? Which techniques might be most helpful to you in making your podcasts? Make sure you discuss the difference between open-ended questions (which require more thought) and closed-ended questions (which elicit a simple one-word answer), and how the first kind makes for better interviews.
Mini-Lesson: Using a Smartphone to Record
Until now, we've focused on the nontechnical aspects of podcasting, but to move forward we'll need to make sure the class knows how to use recording devices. If you have fancy microphones or microcassette recorders, you can skip this next part. But if your students will be using their smartphones as personal recording devices, then make sure everyone is familiar with these basics:

* First, smartphones will need to have a sound recording app. On Android, students can download a free voice recording app like "RecForge II" or " Audio Recorder." For iPhones, in the extras folder, find the "Voice Memos" app.
* Make sure students know where the microphone is on their phones.
* Ask students to spread out and find a reasonably quiet space.
* To begin recording, start by pressing the "Record" button or a red square. To finish, press the same button again.
* Make sure to position the microphone about six inches away from the side of your subject's mouth.
* Check your audio, preferably with a pair of headphones. It should be free of background sound and loud enough to hear, but not so loud that it crackles. Record for 10 seconds and then play it back; adjust microphone position based on volume.
* After you finish, make sure to enter a title for the recording and save it.
* To get the file to your computer so you can edit it later on, use AirDrop, Bluetooth transfer, email or Google Drive upload.
Activity: Recording an Interview
Students are now ready to make their first recording. Working with their previous partners, students should record an interview, trying to get at least three minutes of recording. They can use the same questions they used during the one-minute interviews, or they can choose new questions from the prompt list. Remind them to use the best practices for interviewing and recording discussed earlier, including asking open-ended follow-up questions.

After they finish recording their interviews, they should make sure their sound files are good quality and saved.

As an alternative activity or homework assignment, students can conduct a series of vox pop interviews in an unstructured setting within the school, such as during recess, at lunchtime or in the hallways.

Wrap Up
Debrief the interview activity with students. How did the interviews go? Did they create quality sound recordings? Did they learn any useful strategies before they begin making their podcasts?

_________

Image

The open-source Audacity software is just one of many programs that can record and mix audio files on a Windows PC or Mac. Credit... The New York Times

Students can tell stories, they can interview and be interviewed, and they can record sound. Now it's time to learn how to edit audio. By the end of this part of the mini-unit, students produce a practice one-minute podcast. Warm Up
Ask students to listen to their recordings from the previous day using headphones. While they listen, they should write an outline of the recording, like this transcript from the Invisibilia podcast they already listened to. Since their outlines won't be published, students don't need to write down everything word for word and they can use plenty of ellipses or shorthand notes. These outlines will be helpful during the editing process. You may need to model for students how to make a very rough transcript or outline efficiently.

Students will use these sound recordings to practice using editing software.
Mini Lesson: Editing Software
Editing software is the tool that will help students turn their sound files into professional-sounding podcasts. With it, they can delete sections of audio, move audio segments around and stitch them together, and add additional sounds. They'll need to practice using this software before moving forward with the podcast project. Depending on how many computers you have, students might work alone or in pairs.

Note: Classes using Apple computers can use GarageBand, a free audio editing software. Other examples of free online audio editing software that can be used on Windows or Google devices include Audacity, Soundtrap (free for 14 days, then premium) and Beautiful Audio Editor. For each of these applications, there are tutorial videos available online. We recommend teachers become familiar with how to use basic features before diving into the editing process with students.

Here are some of the basics of audio editing you should go over with students:

1. Students will need sound files to edit. They can upload them from their recording devices, they can upload audio files from online or they can use the editing software to record new sound files.
2. The "cut" or "split" tool enables students to splice one audio segment into two or more segments.
3. The "delete" tool enables students to get rid of any audio segments they don't want.
4. The dragging and moving function allows students to reposition audio segments where they want them. Typically students will use the mouse as a cursor to drag and move content.
5. The timeline ruler or grid is the tool that measures the audio. Students use the timeline to assemble various audio segments into one project.
6. Tracks are layers of sound. Podcasts often have multiple tracks of audio playing simultaneously, such as music or sound effects played over spoken word. Students can align the various tracks using the timeline.
7. Volume can be adjusted in each audio segment. Students can also add effects, such as fade in or fade out.
8. "Save" and "Export" are important functions. Students must remember to save their work, and they will most likely want to export their project when they are done.
Activity: One-Minute Podcasts
The best way for students to get practice using these tools is for them to play with them in a low-stakes way - thus, we suggest the one-minute podcast assignment. Students should take their three-minute recorded interviews and turn them into one-minute audio stories. They may want to cut out the actual interview questions; they may splice out parts of answers or move around sections; they may add additional narration or sound effects.

We recommend this assignment as a timed activity - perhaps only one class period. Since it's not the final project, the goal isn't to produce a stellar podcast. Instead, it's to make sure students become comfortable with the editing software.
Wrap Up
Save time to debrief with students about using the editing software. How did it go? Where did they stumble? What did they learn? If there's time, you can play a few of the one-minute podcasts for the class.

For homework, you can instruct students to look over the prompt list one more time to select their final podcast topic.

_________

Brittany Luse, left, host of the "Sampler" podcast, interviewing Kid Fury, center, and Crissle West, both from "The Read" podcast. Credit... Alex Welsh for The New York Times

We've reached the final chapter of this mini-unit. Students are ready to come up with a topic, create a plan and produce their very own original podcasts.

Warm Up: Topic Brainstorm
If students already selected their podcast topics for homework, have them share during the Warm Up. If not, have them return to the prompt list to choose the one question they want to address in their podcast. If students will be working with partners, they should do this brainstorm as a team. If they don't see a topic that interests them, they can come up with an original idea.
Mini-Lesson: Planning a Podcast
Just like writers do before starting an essay, podcast producers typically make an outline or plan before they start recording and editing. They brainstorm how they want to turn their topic into an audio story. What components will they need: spoken stories, interviews, narration?

Before students get started producing their own podcasts, model how to plan a podcast from an initial question. You can use the beginning of Episode 538 from "This American Life" (Segment 0:00 - 4:20) and its transcript. While the class listens together, reveal a rough outline of the components that make up this segment.
Narrator introduces a situation: A middle school student refuses to take off a hat in the classroom.
Project Workshop Step 1: Planning a Podcast Vox pop interview clips, interspersed with narration: Various teachers share how they might handle this situation. Project Workshop Step 2: Gathering Audio Source Material
Music fades in ...
Narrator introduces the larger topic of school discipline and the main question the podcast will address: Are school and teacher discipline policies working? Is there a better way?
Music fades in ...
After listening, discuss: What is the question this episode focuses on? What components do the producers use during this segment? How can a rough outline like this one help them plan their podcasts?

Students should fill out their own podcast planning form (PDF), beginning with their focus question. The form also asks students to think about narration, storytelling and interviewing. On the second page, students design a rough outline.

Once they have a plan, students need to go out and record their narration, stories and interviews. Some of this may take place during class time. Some of it may not.

They should also gather any additional sound files they will want to use. Be sure to remind students to use non-copyrighted sound effects or music, though there are some limited fair use exceptions when they can legally use copyrighted work (such as when they are critiquing a song or reporting on a film). Students can find royalty-free music and sound effects like those on Bensound and Freesound, or they can create their own beats or melodies using their audio editing software.
Project Workshop Step 3: Editing and Publishing
Once they have all their needed sound files, the last step is to use audio editing software to pull the pieces together into a final podcast, five minutes long or less. Please be forewarned: Editing can be a time-consuming process.

When the podcasts are ready, you can upload them to one of many hosting sites. SoundCloud offers free podcast hosting and so do Buzzsprout, Podomatic and Spreaker, with limitations. Here's an example of how one teacher shares her students' podcast projects with the world.
Podcast Celebration
After all this hard work, we hope students can celebrate what they've accomplished. Perhaps you want to have a podcast listening party, where you spend a class period listening to all the projects. You can even invite parents or guests. Or, if time is short, you can let groups of students listen to each other's podcasts using headphones. Either way, you may want to give students a chance to offer feedback on one another's work.

_________
Resources Around the Web for Teaching Podcasting and Listening Skills NPR | Starting Your Podcast: A Guide For Students NPR | Teaching Podcasting: A Curriculum Guide for Educators KQED's Podcasting With Youth Radio Radio Rookies Listenwise Tools for Podcasting Learning Network Lesson Plans On Podcasting and Listening Skills Experimenting With Sound and Story: Teaching and Learning With 'The Daily' Podcast

Active Listening: Using Times Videos, Podcasts and Articles to Practice a Key Skill
_________

Laura Winnick teaches English at the Urban Assembly Maker Academy, a public high school in Manhattan, where she brings in podcast pedagogy as a creative, research-based summative assessment.
Justin Hicks attends New York University's graduate school for journalism and produces freelance audio stories. Every Saturday, he produces a podcast with middle and high school students in Harlem where students report, edit and mix their very own audio stories.

# data[].attributes.attachment_link.title
Project Audio: Teaching Students How to Produce Their Own Podcasts

# data[].attributes.attachment_link.description
Given the recent rise in podcast popularity, it's no surprise that audio narratives are making their way into the classroom. They offer an engaging way for teachers to merge project-based learning with digital media analysis and production skills. That's why we run our annual Student Podcast Contest, in which we invite students to submit original podcasts, five minutes long or less.

# data[].attributes.headline
Analysis of language and structural features of an encyclopedia entry- Bio technology 

# data[].attributes.subject
Analysis of language and structural features of an encyclopedia entry- Bio technology 

# data[].attributes.attachment_link.title
AOE: Readers Writers and text - Bio technology - Encyclopedia Entry  20.08.2020

# data[].attributes.body
Glossary - Website textual features

# data[].attributes.body
Brad Philpot's website - free and very useful for those looking for ready made units and resources. Share the link with students too.

# data[].attributes.attachment_link.readable_text
Rich and poor

Not published to students

Current

How is language used to comment on human rights and inequality in the world? How is language used to protest injustices? This unit encourages to you explore a range of global issues related to human rights and inequality through the study of literary and non-literary texts, such as poems, lyrics and speeches. Furthermore, you are encouraged to use these texts to make connections to the areas of exploration and concepts from this course, while developing the skills that are useful for Paper 1, the HL Essay and the individual oral.

Texts and works

Not published to students

Current

HLE Skills

Not published to students

Current

Teacher support

Not published to students

Current

This collaboration space is available to teachers only. The Teachers' forum is good place to ask your questions to the 'hive mind'. The resource exchange is a good place to create folders and share documents. Please use these tools wisely. Please treat everyone with respect and keep comments constructive.

Login with your existing Philpot Education account details (email address / password) to access the Teachers' Forum.

Course Dashboard

# data[].attributes.attachment_link.keywords[]
course: english a: language and literature

# data[].attributes.attachment_link.description
Rich and poor Not published to students Current How is language used to comment on human rights and inequality in the world? How is language used to protest injustices? This unit encourages to you explore a range of global issues related to human rights and inequality through the study of literary and non-literary texts, such as poems, lyrics and speeches.

# data[].attributes.body
The IB DP Lang & Lit  course offers all.teachers with the opportunity to teach an extensive range of non-literary text types. Thsi padlet is a collaborative effort to make it less challenging.

Feel free to borrow and share your text type and the resources you use to teach the vocabulary, language, structure, technique, style and features of the many text types given in the guide.

Thank you for stopping by.

# data[].attributes.body
Good starting point

# data[].attributes.attachment_link.readable_text
Film and commercials

How many hours do you spend each day watching commercials, films or short videos? Quite a few? We live in a world that is saturated with moving images. In fact, 300 hours of video are uploaded to YouTube every minute! ( Merchdope, 2020). If you view a lot of videos, it helps to have an understanding of the conventions of film and the moving image. This lesson helps you understand the stylistic and structural features that directors use to communicate through sound and moving image.

1. Work in groups. Assign each group a different commercial from Texts 1-5 below. Watch your commercial once without sound. Then watch it again with sound. Discuss how sound made your experience of the commercial different during your second viewing.

2. What are the tools of film directors? What kinds of stylistic and structural features must you consider when analysing videos? As a class, study Text 6 (a famous commercial), the diagram and table of defining features below. Then return to your group and discuss how mise en scène, camera angle, shot, sound and montage help construct meaning in your commercial (Texts 1-5).

Feature

Example

Mise en scène: This refers to what goes into the frame, including the subjects, backdrop and props. It also refers to positioning of everything or the composition of the shot, including the lighting.

The large room, where all of the 'skin heads' sit staring at Big Brother on the screen, is featured in many scenes. The gas masks, the boots, the grey clothing and tunnel all contribute to the dystopian atmosphere. The use of colour in the hammer thrower's clothing is sharply contrasted with the blues and greys in the scene, suggesting she brings hope and change.

Camera angle : What is the angle of the camera in relation to its subject? Is it a bird's eye view, high angle, eye-level angle, low angle or worm's eye view?

The scene opens with a bird's eye view of a transparent tunnel, where we see the heads of prisoners marching. There is a worm's eye view of the boots, and eye-level shots of the prisoners.

The distance between the camera and the subject is important to consider. You may see an extreme-close shot (XCS), a close shot (CS), medium shot (MS), long shot (LS) or extreme long shot (XLS) (see figure). Does the camera move or stay still in relation to its subject? Sometimes the camera is put on a Camera shot: dolly. Sometimes it rotates on its access, creating a pan. Cameras can also zoom in and out, often in combination with camera movement for special effects. Finally consider the length or duration of the shot, which will help determine the pace of the film.

The camera is on a dolly as it pans along the rows of prisoners. Close-up shots of the prisoners' faces, as they march or sit give the viewer the impression that they are brainwashed like zombies. The running woman with her hammer approaches the camera, which switches between her getting closer, the guards chasing her and Big Brother speaking. Each shot zooms in on its subject more and more, intensifying the experience for the viewer.

Diegetic or non-diegetic sound: Sounds which is created by the characters, objects or events on the screen, such as dialogue, are known as diegetic sounds. Sounds with an unknown source, added after filming, such as music, are known as non-diegetic sound.

The sound of Big Brother speaking is at first non-diegetic and then later diegetic, which creates suspense. The hammer thrower's scream, as she throws her hammer at the screen, seems to cut through all of the background robotic noises. The prisoners' make a strange singing noise in response to the exploding screen, as the voice overtells us about Apple's new computer.

Montage: How are all of the shots and music put together? The skill of editing and joining shots to get a particular effect is called 'montage'.

The shots switch between the woman with the hammer and the prisoners with increasing frequency. This creates tension and suspense, as the reader sees the inevitable conflict between her and the guards and Big Brother. The final text about the launch of the new Apple Macintosh frames the whole scene as an allusion to the novel 1984.

3. As a group, prepare a short presentation on your group's commercial (Text 1-5) which explores your answers to these questions: What global issue does your commercial address? What is its call to action? How does it use the features described above to construct meaning? How does it relate to or deepen your understanding of one or more of these 7 concepts: transformation, perspective, representation, identity, communication, creativity or culture. Play your commercial for your classmates before giving your presentation.

4. What global issues were explored through Texts 1-5 and presented in these presentations? Which global issue intrigues you most? Find another video or commercial to deepen your understanding of this issue. It may be a music video, commercial, feature film or documentary. Can you also find a literary work, such as a series ofpoems, that explores this same global issue? Write an outline for an individual oral, in which you explore how your global issue is presented in both a non-literary, 'multi-modal' (moving image) 'body of work' and a literary work.

Assessment

If you should decide to use a multi-modal text for your individual oral, your extract will include several (3-5) stills. For each still, include a caption that states what is voiced either through diegetic or non-diegetic sound during that section of film. A documentary, an episode from a series or a feature film can be considered a 'body of work'.

Last modified: Friday, 20 November 2020, 9:24 AM

# data[].attributes.attachment_link.keywords[]
english a: lang lit: film and commercials

# data[].attributes.attachment_link.title
English A: Lang Lit: Film and commercials

# data[].attributes.attachment_link.description
How many hours do you spend each day watching commercials, films or short videos? Quite a few? We live in a world that is saturated with moving images. In fact, 300 hours of video are uploaded to YouTube every minute! ( Merchdope, 2020).

# data[].attributes.attachment_link.readable_text
Canon performed an experiment called Decoy to explore the power of perspective. This very visual project sought to find out how influential a photographer's outlook can be. Six photographers were invited to participate, each one separately capturing a portrait of a man named Michael. On the day of the photoshoot, each artist was told something different about this man. Each photographer was given a different backstory for Michael, being told he's one of the following: a commercial fisherman, a self-made millionaire, a recovering alcoholic, a man who's saved a life, an ex-inmate, or a self-proclaimed psychic. In reality, Michael is an actor who took on each of these roles in alignment with what was told to the respective photographer.

After the portrait shoots were complete, the photographs were printed, hung in a room, and the six photographers were invited to view them together. A video of their gathering (which can be viewed below) shows the photographers discussing the different portraits, each one commenting on how Michael looks like a completely different person from one photograph to the next. The snapshots differ greatly in both style and context, eliciting a different emotion and characterization of the subject. Michael then enters the room and explains the premise behind the experiment, causing the photographers to realize just how eye-opening this experience was.

"A photograph is shaped more by the person behind the camera than by what's in front of it," Canon concludes. In proving this, the company hopes to shift an artist's creative thinking the power of the role they play when they're behind a camera lens.
Above: Self-Made Millionaire Self-Proclaimed Psychic Life Saver Ex-Convict Fisherman Recovering Alcoholic

# data[].attributes.attachment_link.title
6 Photographers Invited to Photograph 1 Man Reveal the Power of Perspective

# data[].attributes.attachment_link.description
Canon performed an experiment called Decoy to explore the power of perspective. This very visual project sought to find out how influential a photographer's outlook can be. Six photographers were invited to participate, each one separately capturing a portrait of a man named Michael.

# data[].attributes.attachment_link.readable_text
I. Importance of knowing these principles for future work in film/video/TV and in writing criticism

A. A strong geometrical shape is the key to good composition in graphic design and film and photo composition.

B. For course work, for critical writing, and for professional work in the media -- learn a vocabulary to apply to visual analysis.

1...the language of sensory descriptions. Talk and write about an image using the most concrete sensory vocabulary. If you say "tree," talk about how the leaves and branches move, sound, feel and are shaped. What makes this tree different from others. Move from a level of generality to greater and greater specificity in the language you use.

2...the language describing processes of perception. Talk and write about your own stages in looking at and interpreting the picture. What caught your eye; what stood out emphatically; what took a while to notice; how did your eye move around the picture; did it keep coming back to a certain spot?

3...the language for describing the relation between visual and audio elements and their emotional effect. Discuss how a picture conveys tranquillity, dynamism, respect, abjectness? Does it give you a new appreciation of previously overlooked aspects of daily life? Does it reflect a fascination with human art or nature's art? Does it capture a fleeting moment and freeze it for the viewer? Does it make a social comment or a comment on convention?

II. Analyze two-dimensionality and how it gives the effect of depth. Discuss...

A. foreground and background

B. use of the frame

C. perspective and use of perspective

III. Balance can be symmetrical or asymmetrical. Look at the use of...

A. Positive and negative space. An visual interest in negative space and its composition is a major principle of Japanese painting and photography.

B. Figure-ground relations. How does the artist compose the background as well as the major figures?

C. The rule of thirds = Place the horizon line one third or two thirds of the way down, not in the center. Place the most important objects one third or two thirds of the way across the image. Asymmetrical balance, achieved by the rule of thirds, contributes to variety and sharpening.

D. OR use classical balance = a centered subject. There is little dynamism in this compositions and it is used in ads that are supposed to appeal to the very rich, often seen in magazines like the NEW YORKER.

IV. Describe the lines. Find the single visual force that is the strongest. There are actual and implied lines. Is there implied directional movement (even a blur)? How do we read it, left to right, up to down? Analyze strongest parts of frame by quadrant.

A. Horizontals -- Does or should the artist use the rule of threes in composition? Describe emotions elicited. Discuss placement of the horizon line in the frame.

B. Verticals -- Describe the emotions elicited, which are often kinetic, urban, aspirational or authoritative

C. Diagonals give a sense of motion, inconclusiveness, or instability.

D. Shape = design element formed when lines close back on themselves. Commonly square, circle, triangle [often = family, holy family].

E. 3-d shapes = masses, which can only be distinguished from shapes by use of light and shadow.

V. Talk about how the lines and shapes lead the eye. Is there a point where the eye returns or temporarily rests? That is the point of emphasis, and good pictures achieve visual emphasis. Is there an emotion or narrative implied by that visual emphasis?

A. Emphasis = resting place for the eye. Eye returns there. Emphasis creates a center of interest.

1. Human form is most interesting thing in image.

2. Intricacy vs. simplicity. An intricate shape is sharpened when there is also something very simple alongside it; an extreme close-up may show the great intricacy of the texture of the most common objects [for examples, a close-up of all the colors in an oil slick glinting in the sunlight.]

3. Most textured area commands the most attention.

4. The foreground and the right, lower quadrant have more emphasis. The person in front always gets more attention than the person in back.

5. Emphasis comes from implied motion in the image. There are two kinds of eye motion.

a. One is around a geometric shape or back and forth along a line = graphic vector.

b. One is eye motion led by a figure in the content of the image that is going or pointing in a certain direction: examples are a car going in a certain direction, a person walking or picking up a forkful of food, or a glance in a certain direction = motion vector.

6. Humor, the spectacular, the unusual gain our attention. You need other graphic qualities besides these aspects, however, to make a good image.

VI. Texture = visual equivalent to sense of touch. Note kinds of words used to name texture. Texture calls up emotions more primitive than sight.

A. Note how lines together can become a texture with shadowing, grouping.

B. The photo may emphasize the 2-D surface. It may play with printed text or reflections of light or use unusual inserted material to do so.

VII. Contrast creates "sharpening" = more a rapid readability of the image.

A. Contrast of scale -- Without this, more time is spent on mentally establishing the gestalt or creating closure, figuring out what the image is. Gestalt psychology assumes that viewers seek to create closure out of the available elements.

B. Contrast of shape

C. Contrast of color

D. Contrast of texture

E. Contrast of tone

Note contrast range in both natural light and light in photography, film, television -- Low contrast, for example, on a gray day, may be related to a longer time in establishing closure in black and white pictures; it actually creates more saturated colors for color photography and video. Film captures a much higher contrast range than television or video, where the dark areas can easily become all black or the whites lose detail and "bloom."

VIII. Unity -- Line, shape, and texture create a unity in which the whole is greater than sum of its parts; repetition and parallelism are key to establishing unity. In any photographic analysis it is important to analyze the repetition of shapes and tones in the image.

A. Rhythm = repetition with alternation or repetition with progression. If you just had repetition of elements, it would get boring. An example of progression is a move from large to small versions of a shape; an example of alternation is a shift from light to dark and back again.

B. Motif = a repeated image or sound which reinforces a theme in the work as a whole, perhaps functioning as a symbolic element [e.g., the color red or romantic violins].

C. Redundancy = reinforcing an emotional effect or visual impact in a number of ways within an image or a film as a whole.

D. The image needs a tension between its unity and the kinds of surprises or tensions it contains.

IX. The concepts for this outline are drawn from the following three books:

A PRIMER OF VISUAL LITERACY. Dondis, Donis A. (Cambridge, MA: MIT Press, 1973).

A GUIDE TO PHOTOGRAPHIC DESIGN. William W. DuBois, Barbara J. Hodik. (Englewood Cliffs, NJ: Prentice-Hall, 1983).

SIGHT, SOUND, MOTION: APPLIED MEDIA AESTHETICS. Zettl, Herbert. (Belmont CA: Wadsworth, 1973).
Original file name: photoanalysis2.rft
This file was converted with TextToHTML - (c) 1995 Kris Coppieters

# data[].attributes.attachment_link.description
I. Importance of knowing these principles for future work in film/video/TV and in writing criticism A. A strong geometrical shape is the key to good composition in graphic design and film and photo composition. B. For course work, for critical writing, and for professional work in the media -- learn a vocabulary to apply to visual analysis.

# data[].attributes.attachment_link.readable_text
Learn all the terms and definitions for podcasting

Use this free podcasting resource to learn all the lingo for podcasting. You'll learn all the industry terms and technical jargon in no time. Even if you're a pro, there's something to learn.

# data[].attributes.attachment_link.title
Podcast Dictionary - Podcast Glossary of Terms

# data[].attributes.attachment_link.description
Use this free podcasting resource to learn all the lingo for podcasting. You'll learn all the industry terms and technical jargon in no time. Even if you're a pro, there's something to learn.