Trees Preschool using colors and shapes

I have a 12-week plan that looks like this: Experimental Captioning Unit (ELA 12) Overview: Essential Question How can I, as a media creator, use experimental captioning to help DHH people access greater meaning and aesthetic value? Final Project(s) Exhibition which includes: A preexisting 1-2 minute clip with experimental captions added, along with an enhanced, accessible transcript of the clip. A 3-8 page original screenplay intended for experimental captioning. An animatic of one scene of the screenplay featuring experimental captioning. Information which communicates the following: Accessibility theory, including explanations of 3 or more accessibility concepts. How feedback from DHH people informed your use of captioning. A framework for your captioning theory, including explanations of 4 or more guiding principles that informed your approach to experimental captioning. A reflection on the difference between captioning an existing clip and crafting a clip with captioning in mind. Statements from all team members explaining what you learned from this project about interacting with diverse people with dignity, respect, and empathy. Optional: display labeled outlines, drafts, and other development materials which show your process. Here is the exhibition rubric. (There is a chance the American Government teacher might want to collaborate on this assignment. If so, the above might be adjusted per this teacher’s feedback.) Oregon ELA 12 Standards Reading Literature 11-12.RL.2 – Analyze the development of multiple themes or central ideas and provide an evidence-based summary. 11-12.RL.3 – Analyze how an author's choices develop characters, events, and other literary elements. *11-12.RL.4 – Analyze how word choice contributes to meaning and tone. 11-12.RL.5 – Analyze how text structure contributes to meaning and aesthetic impact. 11-12.RL.6 – Analyze point of view, perspective, and cultural experience. *11-12.RL.7 – Analyze and evaluate multiple interpretations of a literary work. Reading Informational Text 11-12.RI.1 – Cite strong textual evidence to support analysis and inferences. 11-12.RI.2 – Analyze the development of central ideas and provide an evidence-based summary. 11-12.RI.3 – Analyze how complex ideas, individuals, and events develop and interact. 11-12.RI.6 – Analyze an author's purpose, perspective, and use of rhetoric. *11-12.RI.7 – Integrate and evaluate information from multiple media and formats. Writing 11-12.W.3 – Write narratives using effective technique and well-structured sequences. *11-12.W.4 – Produce writing appropriate to task, purpose, and audience. *11-12.W.5 – Plan, revise, edit, and strengthen writing through feedback. 11-12.W.6 – Use technology to produce, publish, and revise writing collaboratively. *11-12.W.7 – Conduct sustained research projects using multiple sources. 11-12.W.8 – Gather, evaluate, and integrate information from authoritative sources. 11-12.W.9 – Draw evidence from literary and informational texts to support analysis and research. 11-12.W.10 – Write routinely for a variety of purposes, audiences, and time frames. Speaking & Listening 11-12.SL.1 – Participate effectively in collaborative discussions with diverse partners. *11-12.SL.2 – Integrate and evaluate information presented in diverse media and formats. 11-12.SL.4 – Present information and evidence clearly for a specific audience and purpose. *11-12.SL.5 – Use digital media strategically to enhance presentations. * indicates major assessed standards. The rest are practiced but not as explicitly assessed through the final exhibition project. Texts Scholarly Articles: Butler, J. (2018). Integral captions and subtitles: Designing a space for embodied rhetorics and visual access. Rhetoric Review, 37(3), 286–299. https://doi.org/10.1080/07350198.2018.1463500 Butler, J. (2020). The visual experience of accessing captioned television and digital videos. Television & New Media, 21(7), 679–696. https://doi.org/10.1177/1527476418824805 Comics & Graphic Narratives (Mentor Texts): Scott Pilgrim (all volumes), Bryan Lee O’Malley, 2004-2010, Understanding Comics, Scott McCloud, 1993 Nimona, ND Stevenson, 2015 Bone, Jeff Smith, 1991-2004 March, John Lewis & Andrew Ayden, 2013-2016 The Prince and the Dressmaker, Jen Wang, 2018 Batman in the Sixties, Bob Kane et al., Silver Age Ultimate Spider-Man, Bill Jemas (vol 18) A Silent Voice, Yoshitoki Oima, 2013-2014 Daytripper, Fabio Moon & Gabriel Ba, 2011 Asterios Polyp, David Mazzucchelli, 2009 Maus, Art Spiegelman, 1985 (Vol 1), 1991 (Vol 2) Screenplays (Mentor Texts): Cargo (screenplay and video) Step-Larpers (screenplay and video) Paradise High, episode 1 (screenplay and video and captioned version) 57 Percent Up (screenplay) 30,000 Fate (screenplay) Other Media Sean Zdenek’s Reading Sounds site Focus on chs. 6, 8, and 9 Deaf Movie: Where the Sky Ends Scenes from Scott Pilgrim Vs. the World: Opening Equivalent in Graphic Novel (pp. 7-8) Ding Dong Doorbell Equivalent in Graphic Novel (p. 65) Fight with 1st Evil Ex Equivalent in Graphic Novel (pp. 123-143) Sunrise: A Song of Two Humans The swamp scene (especially the title about drowning) Clips from or inspired by the 2020 Janine Butler article: Speechless 1 Speechless 2 Speechless 3 Insider Grey’s Anatomy 2017, S14 E6, “Come on Down to My Boat, Baby”. Sherlock 2016, E10, “The Abominable Bride” Episodes of 1960s Batman TV show (fight scenes) This fight scene will work great. Equivalents from the Silver Age Batman comics: Fight scene with caveman guy (p. 16) Fight scene with suited goons (p. 104) Weekly Plan: Plan Week 1-2.5 HOOK AND THEORY Hook Tell story of creating the Paradise High web series and the premiere. Show a clip of the show and describe the hype. Show how the producer’s sister (who is hard of hearing) experienced the show: show same clip without sound. Discussion on how the sister must have felt. Build empathy. Show clip of producer talking about it. Show captioned version of scene. Discuss how captions help people. Bring up the possibility that captions could be more awesome. Share my vision about this. Announce that this is what we’ll be doing for our exhibition project. History, Vocabulary, and Theory of Accessibility and Captions Each day, teach a little bit of history, vocab, and theory then give the students directed activities to research some of it, then discuss what we learned together: History Before captions: silent films > talkies, Emerson Romero, why not widely adopted? This is a great place to show the Sunrise clip. Inventing captioning: first captioned movies, Malcolm Norwood, Caption Center at WGBH, Line 21, caption decoder boxes. Accessibility as a Civil Right: access to communication as a civil right, ADA, Television Decoder Circuitry Act, important lawsuit or legal cases. Beyond TV: WCAG, POUR. Transcripts: how they fit alongside captions. Terminology (they’ll find definitions for these): Cognitive load. Curb-cut effect. WCAG. POUR. DHH. d/Deaf (why is it written this way?) Universal design. Transcript. Subtitle. Captions. Close captions. Also include a part where each group comes up with an additional question and researches it. The groups help use jigsaw research to divide up the info and teach each other. Then, we come together as a class to share information. Mix up the above by watching examples of short films/scenes with different captioning styles, Linkcrew-ish activities related to the topic, and listening circles. Experimental Captioning Read the first part of Janine Butler’s 2018 article together. Then use a jigsaw to figure out what she means by each of the six qualities of integral captioning. As part of this, watch the clips she references in the paper. Look at Butler’s 2020 article together, watching the clips she references there. Discuss the results of this study and their implications for our work with experimental captioning. Develop a list of questions we’d like to ask Janine Butler. A Conversation with Janine Butler Use Zoom or Meet to bring Janine Butler into the classroom with an interpreter. Dr. Butler can teach the class about the protocols and courtesies of communicating with d/Deaf people with an interpreter. The students ask Dr. Butler the questions they have about her work and their project. After the conversation, as a class, decide how we will send her a token of our thanks. Week 2.5-3 GRAPHIC NOVELS AND COMICS (MENTOR TEXTS) Getting Started Look at examples of video media with creative text on the screen which were inspired by graphic novels / comics: Scenes from Scott Pilgrim Vs. the World The scene from Adam West Batman Look at the equivalent scenes in the graphic novel / comic version of each (see this under texts at the beginning of the unit). Announce that we’ll look at graphic novels and comics to generate ideas for experimental captioning. Introduce a Google Doc which we’ll use to collect examples from graphic novels which could be good mentor moments. Each student picks a graphic novel. They’re assigned to read it, take pictures of mentor moments, and add them to the class Google Doc. They are each assigned to provide nine examples along with their thoughts about each one. Caption Designer’s Notebook Each student creates a caption designer’s notebook in which they write down ideas for captioning which come to them. Throughout the rest of the unit, they update it when ideas come to them. Their notebook can be physical or digital. It is up to them. Throughout the rest of the unit, periodically have moments where they share ideas from their notebooks with each other or I go around asking students to share ideas with me, just to keep it on their mind. Read with a Purpose They do the reading and add their examples to the Google Docs. Don’t focus on finishing the graphic novels but on working on this for a certain amount of time. Break up reading time with informal talking corners, listening circles, and Linkcrew-ish activities. Share Go over the mentor examples as a class and discuss them together. Week 4 RUBRIC, MOCK EXHIBITION, AND WRITTEN PORTIONS Rubric As a class, review, revise, and awesome-ize the rubric for the exhibition. Written Portions of Exhibition Break into exhibition groups. Each group develops the first draft of all of the written portions of the exhibition. Emphasize that these will be organic, evolving documents as they learn more (include a discussion on how schema evolve - do a Linkcrew activity about evolving schema). They store their working documents in a Google Folder shared with all group members and the teacher. Mock Exhibition Students develop a mock exhibition featuring their working documents, placeholder spaces where their captioning examples and screenplays will be, and the general layout of their presentation. Students practice answering questions in front of their mock exhibition. Students write up a reflection on their mock exhibition. * Important Note: Remember to constantly ask students why they make the choices they do in order to help them learn to use language with intention, with an audience in mind. Week 5 “I DO”, “WE DO” EXPERIMENTAL CAPTIONING As a class and in groups, do the following: Study Reading Sounds website. Watch examples of interesting captioning work. Demonstrate how to make a enhanced, accessible transcript and why it is important. Emphasize the importance of manually revising transcripts. Fun activity to do along the way: keep a running Google Doc where the class puts examples of times the A.I. makes funny errors when captioning. Watch scenes of the videos in the Unit Plan overview (the ones we have the screenplays of) and, as a class, come up with experimental ways to caption them. Demonstrate how to use DaVinci Resolve and DaVinci fusion to create and animate captions. Give students time to revise any of their exhibition documents or plans based on what they’ve learned this week. * Important Note: Remember to constantly ask students why they make the choices they do in order to help them learn to use language with intention, with an audience in mind. Weeks 6-7 TRANSCRIBE AND CAPTION CLIPS Create Transcripts and Experimental Captions Each group picks a 1-2 minute clip and captures it in a way that it can be imported to our software. Each student creates an enhanced, accessible transcript of their clip. The students in each group compare their different versions and synthesize them to create the best transcript possible. Fun activity: Add to the AI captioning error document. This is a time to review principles of punctuation. Each group creates a two-column document with the transcript on the left and their plan for creative captioning on the right. Each group uses DaVinci Resolve and DaVinci Fusion to add their experimental captions to the clip. Authentic Audience Review DHH guests visit the classroom and review the clips and give feedback. The students take notes). Students brainstorm with the DHH guests new ideas for how experimental captioning could be done. The students write up a reflection based on the feedback (this and the notes are part of the exhibition display). Students write down a plan for how they will revise their captions. Give them time to apply these plans but suggest to them that the captions are a form of working document that they’ll want to keep revising as ideas come to them between now and the exhibition. Revisit Exhibition Plan and Materials Give students time to revise any of their exhibition documents or plans based on what they’ve learned this week. * Important Note: Remember to constantly ask students why they make the choices they do in order to help them learn to use language with intention, with an audience in mind. Week 8 HOW TO SCREENWRITE Contextualize the Unit This week could feel like we’re sidetracking from the overall unit so take time to explain how it fits into the bigger picture. Learn Screenplay Conventions Read the screenplays in the unit overview and compare them with the finished videos. Guide students through the process of identifying formatting conventions as we example the screenplays. Have them reverse engineer portions of the screenplays from the videos and then compare that to the actual screenplays. Learn Storytelling Principles Look for the following visual storytelling principles in screenplay and short film examples: Review principles from the oral storytelling unit and adapt them to this unit. Set-up & Pay-off. “I didn’t see that coming” vs. “I saw that coming” vs. “I can’t believe I didn’t see that coming”. Character motivated action and dialogue. Exhibitional dialogue (don’t do this). How can you show it instead? Short storytelling vs. feature storytelling. Life themes. Revisit Exhibition Plan and Materials Give students time to revise any of their exhibition documents or plans based on what they’ve learned this week. * Important Note: Remember to constantly ask students why they make the choices they do in order to help them learn to use language with intention, with an audience in mind. Week 9 WRITE A SCREENPLAY Discussions: how would you write a screenplay differently if you’re planning for experimental captions? Each group outlines and writes a screenplay. Peer review screenplays for formatting and story. Revisit Exhibition Plan and Materials Give students time to revise any of their exhibition documents or plans based on what they’ve learned this week. * Important Note: Remember to constantly ask students why they make the choices they do in order to help them learn to use language with intention, with an audience in mind. Week 10 ANIMATIC Show the class examples of animatics. Show good and bad examples of how detailed I want the storyboards to be and how many frames are needed to accurately depict a moving element. Each group does the following (teach each step when it is introduced): Picks a scene or clip of their screenplay to caption. Writes a plan for the experimental captions of this portion. They are free to revise the screenplay to better accommodate the captions. Creates pictures for the storyboards which show where captions appear in the frame in relation to the other elements. Optional: these storyboards can be photographs with the captions added to the images. Record voices, sound effects, and find music for the animanics. Edit the animatic together in DaVinci Resolve. Revisit Exhibition Plan and Materials Give students time to revise any of their exhibition documents or plans based on what they’ve learned this week. * Important Note: Remember to constantly ask students why they make the choices they do in order to help them learn to use language with intention, with an audience in mind. Weeks 11-12 FINISH THE EXHIBITION Fine-tune all exhibition materials, reviewing the rubric to be sure it is strong. I move around to each group, giving lots of formative feedback. Have the DHH guests visit again one day to meet with each group and give additional feedback. Practice asking them questions about their exhibition so they can fine-tune their ability to answer questions. By the end of week 12, their exhibition is all set-up and ready! * Important Note: Remember to constantly ask students why they make the choices they do in order to help them learn to use language with intention, with an audience in mind. FINAL EXHIBITION During the day: they present their exhibitions to our DHH guests as well as any captioning/accessibility experts who would like to see their work. In the evening: they present their exhibitions to families, friends, and the community. After the Exhibition: They write a reflection: What habits helped your team succeed? What surprised you about working with an authentic audience? How did your ideas change after receiving feedback? What would you carry into your next big project? I want to turn that into a 4 week plan so it needs to be seriously altered and stripped down. Can you help me with this?

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