burntends88

A husband, father and teacher. Film is my passion, and I believe learning is a lifelong journey. You can find me on Twitter @BurntEnds88

A city is gripped by fear when the crimes of a killer go unsolved.

A collection of polaroid snaps – headshots of young women are pegged to a line.

Crushing hands tighten around her neck – there’s a noticeable small Tweety Bird tattoo where the nap is between his thumb and index finger. A final twitch and tremor from her leg before it, and she goes limp.

Over the radio: Police urge residents to stay indoors after dark as they continue to search for what is believed to be the city's first serial killer -

A wooded area and a shallow grave: he shovels the last of the dirt.

His hands on the wheel, cruising the city streets. We know it’s him from the tattoo. Neon lights and graffitied shutters tells us skid row is next for this part of town. Well-worn several month-old presidential posters calling to ‘Vote Reagan’, are faded and partly torn.

Over the radio: The body of a woman believed to be in her late twenties was found earlier, and is now thought to make her the fourth victim in as little as a month –

A woman huddles her arms around herself. A little mascara has run. Her face, pale, and her walk, unsteady.

The headlamps of a car trundles nearby and cruises alongside her. She’s aware and does her best to ignore it.

The man rolls down his window.

HIM: You need a lift?

She stops, as does he. She looks around – no one in sight.

HIM: It’s not safe out, not on your own.

She wipes her mouth with the back of her hand -

HIM: You hungry?

HER: Feels like I haven’t eaten in about a week.

HIM: I know a place.

Her gaze lingers, caught in two minds.

HER: I don’t like crowds.

The man walks into the apartment. She stands, unsure. Her feet are at the line of the entrance.

He turns, a smile grows – this is too easy.

HIM: Come in. No crowds.

She glances up from her feet to meet his gaze. Enters, and edges past him further into his lair.

He closes the door and turns the latch – locked.

A polaroid on the table. His tattooed hand takes it -

She studies her surroundings. Minimalist and orderly. He's quite the neat freak.

He holds the camera up and she turns to him -

HER: Please don't. I'm shy.

Too late. FLASH – thwap, the sound of the bulb... and the whir of the polaroid developing -

She holds her arm up to shield her eyes -

The camera spits out the polaroid – his hand comes across and he pulls it free from the slot. Tosses it onto the table along with the camera.

She wanders into the adjacent room and he follows.

We linger on the polaroid as it develops before us. We lean in for a closer look as the image becomes more clear... The image of what should be her is not there, as though she doesn't exist.

Aerial on the city at night -

Over the radio: It's week five and another victim, this time a male has been discovered. As with all other bodies, the exsanguination of each of the deceased has left authorities baffled and a city gripped by fear -

BLACK

Header photo by Eugene Neviarouski on Unsplash

The horror genre, particularly that of vampire lore has always fascinated me. Despite their 'superpowers', they are faulted by their limitations, which has them isolated from society. To that end, to accompany this flash fiction piece, my vampire based movie recommendation is the lesser known Let The Right One In (Alfredson, 2008).

https://cinnamon.video/watch?v=474657661934109898

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Movie Recommendation: GROSSE POINTE BLANK

You might not be familiar with the name, but I bet you've seen many of their films! Working Title has triumphed where many British film companies have failed. But what is their formula for success?

https://www.youtube.com/watch?v=-c1dl8OBgL8

Do you recognise some of these film titles produced by Working Title?

From working with Hollywood superstars to nurturing British talent, Working Title have struck proverbial oil in their pursuit to rise above the chaff and establish themselves as one of the most trusted and beloved British film companies to date.

However, their start on the ladder was trifled with struggles that began with their first critical success, My Beautiful Laundrette (Frears, 1985). The film also marked the breakout role for arguably one of the industries most lauded actors in Daniel Day-Lewis. In the film, Day-Lewis plays a member of the National Front who tries to break free and ends up falling for a young Pakistani man, as they look to break down social barriers in Thatcher's Britain.

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But this isn’t about Laundrette. Far from it, for if it was then there would be no Working Title to speak of today. While critics applauded the film and its performances, particularly that of Day-Lewis, audiences weren’t exactly flocking to cinemas clamouring for more hard-hitting realist dramas about working class Britain.

Laundrette was their only film released that year. While knocking back glasses of champagne on having raised finance, produced and successfully completed a theatrical release of their first film, the industry was cracking on with more Hollywood fanfare taking over the multiplexes. So, raising money for their next feature became another long, hard slog.

[source](https://www.google.com/search?q=polygram+logo&tbm=isch&ved=2ahUKEwiJ4Z2v0LntAhXSw4UKHS1PDyQQ2-cCegQIABAA&oq=polygram+logo&gs_lcp=CgNpbWcQAzICCAAyBggAEAcQHjIGCAAQBxAeMgYIABAHEB4yBggAEAcQHjIGCAAQBxAeMgYIABAHEB4yBggAEAcQHjIGCAAQBxAeMgYIABAIEB46BAgAEENQhe0BWNf6AWDY_gFoAHAAeACAAfgBiAH9B5IBBTQuNC4xmAEAoAEBqgELZ3dzLXdpei1pbWfAAQE&sclient=img&ei=7_LMX8mtINKHlwStnr2gAg&bih=722&biw=1536&rlz=1C1CHBF_en-GBGB909GB909#imgrc=rDdgd2ErXFPwOM&imgdii=vOIsbhyavPQx4M)

In the process, there was movement within personnel. Co-founder, Sarah Radclyffe departed to leave Tim Bevan holding firm on deck. Enter Eric Fellner in 1991 who along with Bevan successfully negotiated the company’s sale to European music giant, Polygram. What this did was open doors for Working Title who were given license by their new guardians to continue their work in producing films. And boy did they, as in 1994, Working Title hit pay dirt with their first commercial runaway success, Four Weddings and a Funeral (Newell, 1994). They had introduced the world to not only Hugh Grant as an emerging British star, but also the origins of what is now a staple on their slate of productions.

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To explain their formula further, we require several more examples from which to draw conclusions from. In 1999, the heavens would grant Working Title access to riches beyond even they could imagine after Universal purchased Polygram. And yes, you guessed it, Working Title came with that package. You’re most likely thinking their success is more fortuitous than it is borne from hard work. But I say you make your own luck. Working Title opened their doors for business way back in 1983 and stuck at it to earn their stripes.

As producers, Bevan and Fellner, who continue to steer their ship to this day, harness the goodwill of their team to create an environment in which their cast and crew can flourish. They envisioned a small team consisting of various departments with heads of those based in the UK and the US. And quickly they found that while making one film, they would need to work on others in any given year in case one fails to live up to expectations. Now you would be forgiven for thinking they should go down the route of Disney – their business model is very much tentpole pictures throughout the year with a pre-sold audience built into the programme. While successful in generating profits for shareholders, consumer choice leaves a lot to be desired with all of their content driven by a cookie cutter dispenser.

Working Title on the other hand devise their slate to address cinephiles of all kind, using their commercial fare to counter against the high risk, period narratives such as, Elizabeth (Kapur, 1998) and Tinker Tailor Soldier Spy (Alfredson, 2011).

All three films produced by Working Title were released in 2004

As you can see, what was supposed to be a sure-fire hit, a live action take on the Thunderbirds was a box office disaster compared to the high risk unknown film, Shaun of the Dead, which took audiences by surprise, earning the team opportunities to continue their work with subsequent follow ups in Hot Fuzz and The World’s End. In that same year, a Bridget Jones sequel hammered home the importance of requiring a balanced slate to offset losses elsewhere (as a rule of thumb, for a film to break even it needs to double its budget at the box office – this doesn't take into account the marketing costs).

Working Title often work with the same cast and crew whilst bringing in new talent into the fold.

All of these original titles were produced by Working Title.

Without the risks taken by Working Title and the likes of Universal we would never have been graced by the talents of Simon Pegg, Nick Frost and Edgar Wright. Without the likes of these companies and studios willing to take risks we would never have been witness to the amazing visionaries of the Coen Brothers with their engrossing titles. Disney? They really need to step up and help nurture the talents of new writers and filmmakers with new ideas and original concepts.

When you explore a Richard Curtis film you'll find similarities to the point of them being repetitious. They become a genre in of themselves featuring an uplifting soundtrack, an American actress or actor to address the audience across the pond, and a fairy tale-like romance between a working class man or woman finding love in the 'unlikeliest of places' with a well-to-do opposite to leave fawning women the world over believing that they too can find happiness in the arms of a prince (need I cite the debacle of Meghan and Harry?). Cynical, yes! But Working Title have hit on a genre film that compliments their strategy of providing audiences with variety and originality through their lesser-accepted-by-the-mainstream narrative pieces. For that, long may they continue to churn out Curtis driven vehicles so we may see instead the likes of The Big Lebowski, Baby Driver and Billy Elliot to name but a few.

So next time you watch a film, consider the production company logos featured at the start. There’s a history behind each one of them, and their contribution is not to be taken lightly. In addition, you can generally tell if a film is looking to challenge mainstream cinema by their distributor’s logo. Hollywood Studios often release titles under their sister banners. Take for example, 20th Century Fox (now with Disney), their Fox Searchlight productions include, Jojo Rabbit, Little Miss Sunshine and Napoleon Dynamite. These are a far cry narratively from their parent company, which have produced mainstream titles such as, Home Alone, Independence Day and Deadpool. Are we really going to see Disney produce independent style films to address original content and the sensibilities of audiences other than those with young children?

Source for header

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Movie Recommendation: OUT OF TIME

Movie Recommendation: RIO BRAVO

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A committee is to be drawn up to tackle issues including charities, cultures, and equalities. There requires a figurehead to lead the charge to better serve the community on these initiatives.

The stage is set. A crowd of restless voters eagerly hold their ballot paper in readiness to make their mark.

Two candidates – we'll call Biscuit and Cake for the scenario. They both share the same political ideology, but their experiences vary according to their interests.

Biscuit takes to the alter. Her fans erupt in support. She has their ear. She has their will. Royal indeed. Her accomplishments show that her path is narrow, but it seems to have endless depth.

Cake’s turn. She has ideas and is bound by a moral code to do good for the many. The consensus would say she is loyal. She has far less fans though. Her achievements show that her path is broad, but also has depth. If only others shared in her passion.

Put it to the people and Biscuit wins hands down.

Put it down to parity and Cake wins hands down.

But would Cake get the people onside?

Would Biscuit achieve as much good as Cake if all she relies on is her following to prop her up? What if the people turn?

Could Cake achieve success without buy-in from Biscuit’s people? Would Cake’s resilience fade?

Only one can be victorious.

Royalty or Loyalty? Who would you crown to lead?

Header photo by Robert Anasch on Unsplash

The scenario is one I'm torn between as Student Council Lead Coordinator at my school. We have a series of amazing candidates, and I was wondering about your leanings on the matter.

Let me know in the twitter thread!

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A climate change protest descends into chaos with crowds unaware of a plot that will send shock waves around the world.

‘88’ – ‘87’ – ‘86’ the clock is ticking, and only three people have the chance of stopping it in time from going down to zero.

She takes the stairwell – persistent – there’s just a few flights to climb and then she can help him. The grey suit gives her away as an official – the kind you see on those special agent TV shows.

In another room, the digital clock counting down is attached to a trigger. It just needs a hero’s touch and all of those lives can go on as they meant to when those protesters woke up this morning.

The crowds have swelled in their thousands and amassed outside the summit’s building. Placards proclaim climate change is real. Orchestrated chants declare the ousting of the committee.

A closed fist to the face knocks him back. A right hook adds to his misery. Two men, clearly skilled in various fight disciplines to make Jason Bourne envious, have at it with a balletic series of frenetic attacks and blocks! One in a Suit, chiselled jawed with broad shoulders, the other, distinguished by a black Turtleneck top and a nasty age-old scar to the side of his mean-looking face. And yes, this is the room where the trigger is at -

‘Whatever it takes, I’m almost there!’ – she calls it on the mic hidden up the sleeve at her wrist. Every step up those stairs edges her closer -

On the crowds: a Bearded Man stands out from the rest, only because he doesn’t seem to follow their script. He barges his way through, his eyes search aimlessly for something. He clearly has his own agenda.

An innocent nudge into the back of a protester turns into a melee – tensions are clearly high.

The Bearded Man counters quickly, taking down three protesters with ease while others back off.

He turns every which way he can on the spot, but there's only more protesters with more placards – the proverbial needle in a haystack comes to mind.

On Suit, as he's sent crashing backwards into the glass bookshelf – he crumples in a heap. This can’t be how it ends!

Turtleneck turns towards the trigger and makes a beeline towards it –

Suit clocks the matching coffee table and kicks at it -

Turtleneck has his legs taken out from under him by the sliding coffee table, sending him up, and then down, shattering the glass top –

Suit, crawls across and lands with an outstretched hand to grab the heel of Turtleneck. He scrambles to pull him back with everything he's got -

Turtleneck reaches out – his hand agonisingly close to the trigger – he’s just a foot away from it... we notice for the first time his earpiece.

'19' – '18' – '17'

Fingertips away -

Gunfire rips into the back of Turtleneck – three precision shots!

She stands in the doorway with her gun -

Suit rolls over, relieved and takes his earpiece out, which dangles from the cord -

“You call that 'almost there'?”

She steps in and leans over – rips the earpiece from the deceased body of Turtleneck. The audible sounds of a distinguished female voice can be made out -

”...We have our man on the ground, but he's unable to locate the bomb. Tell me you've disarmed the trigger! Double-O-”

She lets the earpiece drop onto Turtleneck's body.

The crowds are in full voice -

The Bearded Man struggles to keep a disgruntled group at bay -

'4' – '3' – '2'

BLACK

Header photo by Thom Milkovic on Unsplash

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High achieving pupils (HAPs) are an often forgotten about group. This is largely down to them being able to work more independently to the point where we let them go under the radar in favour of intervening with other groups of pupils such as those who are disadvantaged, or with special educational needs.

The issue I have with this is that the top become disenfranchised and those top grades you were expecting of them are no more. The students you expected to stay on in your sixth form decide to move on elsewhere instead.

To stretch and challenge students in the classroom is an art in itself. There is no Elder wand, or potions off the shelf to address the issue in a one size fits all scenario. It comes down to a series of fundamentals that need to happen on a daily basis to the point where it becomes your routine in the classroom.

I always get asked what it is I do with my classes to achieve positive outcomes each year. For disclosure I teach Film, and Media too. For additional context, I teach GCSE and A Level students, and in all cases, the classes are mixed ability. I have classes with students at the very top end in terms of expected grades according to their KS2 data, and in the same class, students at the bottom end. Balancing these different abilities is not easy. Therefore, understanding your subject is essential, and knowing how best your students learn becomes a necessity.

Where to start? First and foremost, teachers need to foster a love for learning, which is to set high expectations and remove barriers that obstruct the want for knowledge. For more on this, read my piece on my experience on fostering a love for learning in the classroom.

But then comes the teaching of the content. We all struggle at times to process information, becoming overwhelmed by it all. Cognitive load theory purposes that our brains slow down, or worse, stops processing content to the point where it's in one ear and out the other. Students become anxious, which can lead to behavioural issues and so their learning becomes impacted further. We need to look for ways to make the work manageable and reflective using strategies to allow the brain to cope with new topics and units.

Here are some stretch and challenge activities I use in the classroom:

Whiteboard Workout has students up on their feet working in small groups discussing a statement or topic area on whiteboards. This has them speak out-loud their ideas to each other, recording their understanding on display boards. Facilitate the conversations when needed, but ultimately, students are the driving force behind the task. On completion, ask each group to make a comment from their board to the rest of the class, explaining their chosen point. By doing this, it encourages each group to consider multiple options so as to not be stuck with ' they already said everything'. When they have had a turn, each student can then take an image of each other's boards, sharing in their findings to ensure ALL have the same collective information to devise revision documents from.

Example taken from one of my lessons

You are not only stretching the high attainers by affording them the opportunity to take the initiative and think critically, but you are also giving lower ability students opportunities to work with their peers, reducing their anxieties whilst providing them with the same diet of content. For more on the use of this strategy, read my piece here.

Network Grids are a useful tool to encourage independent thinking. Each word or image is specific to a given topic. Combined, they become flashcards with each one a 'memory trigger', which if explored in full, allows a student to pivot from one to the next to demonstrate their mastery of the topic.

This particular NG explores the context behind Ridley Scott's Blade Runner.

Network grids are particularly useful at the start of a topic. It demonstrates to the teacher what current knowledge they have of it whilst building their confidence before delving into the new unit. Revisit the network grid at the completion of the topic and watch your students explore each grid – are they able to make links from one card to the next, demonstrating their mastery of the topic?

Transformation: Putting words into images lets a student process information differently. Students will need to think on a deeper level in determining which information is key to change into an image. For some students, being overwhelmed with large chunks of text can be daunting, so this works well for visual learners.

Story strips created by my students to tell of key moments from City of God (2002)

By transforming the text into a 6 image storyboard or comic strip so to speak can be a fun exercise too, sparking debate as to which film sequences each student thinks is most important. Remember, there is only a certain amount of time in which to answer a question – having mastered knowledge of fewer sequences in depth instead of many superficially demonstrates a greater understanding of the topic and will gain you higher marks in an exam. Try reducing the comic strip from 6 to 3 images, encouraging students to think more succinctly about their understanding (after all, it's easier to remember 3 items than it is 6). This can just as easily be adapted for other subjects.

Learn to Learn: in my most recent Ofsted inspection I was asked how I improve literacy in my subject. A strategy that I use is actually inspired by Robert Rodriguez, film director and self-appointed chef! In one of his videos he talked about how he would perfect a recipe. To do so, he would write down all the things he didn't do on the previous turn, so on the next go, the outcome would improve until he perfected the dish.

I took on the challenge by grouping my class into 4 or 5 students. They would each write an extract, analysing a text. They would pass their work to the person next to them and proceed to write down all the things they didn't do based on their peer's extract. Then they'd repeat the process until they had read all of each other's extract, and on each occasion, writing down what they didn't do in their initial analysis. Once they had all the ingredients, they would then rewrite their extract.

The finished piece would be a considerable improvement on their first, and reduces the teacher's workload in that marking and feedback is done in that exercise by students. It's important though that you consider your groups according to their ability levels with slight differences (1 notch up or 1 notch down) between them. The class appreciated the task and felt it should be used more often across all of their subjects. The Ofsted inspector liked it too!

Knowledge Organisers: There's been a lot of discussion about these, especially from those in favour of their use. However, taking into account cognitive overload, having a unit's content vomited all across one page serves to distract rather than engage. My suggestion is to turn content into infographics. There are free infographic templates available, particularly from Venggage.

Infographic created by my Media student

However, these templates only allow you to import 6 images before asking you to pay a premium to upload more to make your work more bespoke. You could use their predetermined set of generic graphics though. The idea is to utilise dual coding to align with the text to make the retrieval of information easier to process.

You could also create your own templates on open source software such as Photopea, an almost replica programme of Photoshop:

Infographic I created on Photopea

Infographics are great as a visual aid and can be used as displays in the classroom. They can also serve as a tool to help develop technical skills of your students by asking them to create the infographic knowledge organisers instead of teachers.

I've sat through various lesson visits and observations of other teachers in my time, and what seems to be a common occurrence is how a teacher feels pressure to run through content too quickly or else not be able to complete the scheme.

The underlying issue here is that if a student doesn't understand a topic or unit of work to a certain level then they will invariably fall further behind later on in the scheme, as, with all schemes, students are often needing to draw back on prior learning to make connections with current ones.

In addition, in some cases teachers can often present slides of text, overwhelming a pupil with too much content instead of breaking it up with varying tasks that looks to test the pupil in a manageable way.

This is where teaching to mastery comes into play, and the necessity of using diagnostic questioning in your lessons regularly.

Diagnostic Questioning: Craig Barton researched into knowledge retrieval practice and felt the use of multiple choice questions helped in that regard. The process is straightforward and important in addressing misconceptions of a topic. It can be done in various ways, and one way is to offer a definition in which four choices are attached. Only one belongs, but the other three must be relevant allowing you to practice retrieval of prior learning.

As with all examples of diagnostic questions, I will follow up by asking them to rationalise their choice

To further the process, the technique can also be used to determine the depth of the misconception with an open ended question. In the example provided, the question would then become: Choose a scene from the film and explain HOW xenophobia is represented.

By using diagnostic questioning, the teacher is able to determine the extent of what needs reteaching, making learning more bespoke.

Header photo by Gabriel Crismariu on Unsplash

For more of my content, find me @BurntEnds88

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