WALKMAN D EJ118 Crossroads 10 For English 20 2, Unit 3

User Manual: WALKMAN D-EJ118

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THE PRODUCT IS NOTHING™ (magazine article)

•develop ideas •analyse product advertisements 118

MARKET SAVVY TEENS (newspaper article)

•write an essay •write an article 121

THE PURPOSE IS PERSUASION (print ads)

•respond personally •create print ads 127

TUNING IN TO ABORIGINAL TV (article)

•explore ideas •debate a media issue 132

ON THE BOX (poems)

•respond critically •use communication skills 136

BAD DRIVING (script)

•present a script •develop a script 138

MARY, MARY, QUITE CONTRARY (profile)

•analyse magazine articles •create a comedy skit 141

NOTES FOR A MOVIE SCRIPT (poem)

•present a poem •write a review 146

TO BUILD A FIRE (storyboard)

•develop a movie treatment •analyse movie techniques 148

THE SAGA OF FILMING NEVER CRY WOLF (article)

•respond critically •analyse phrases and clauses 154

HOW TO WRITE A MOVIE REVIEW (focus on process)

•summarize and describe a movie •present an opinion 160

INTERNET IS HERO’S WINDOW (newspaper article)

•evaluate Web sites •analyse newspaper articles 162

U N I T AT A G L A N C E

117

M E D I A

FR O M T H E IN S I D E

FR O M T H E IN S I D E

Fiona Jack of Auckland, New

Zealand is getting Nothing done.

One-third of Auckland’s population

have viewed her advertisements,

but no one’s buying. No upper man-

agement complains, no share prices

fall, no lack of demand for the

project exists. What exactly isn’t

selling? Nothing™.

Jack, a twenty-four-year-old

graphic designer, launched the

Nothing™ campaign hoping to raise

awareness about why we buy. “I

was thinking about advertising and

all its strangeness. Its coercive

ability to sell the most completely

bizarre things to people who

usually don’t need them,” explained

Jack. “I realized that the ultimate

non-existent product would be

nothing. To actually call a product

nothing and try and market it.”

118 Develop ideas for a new product.

Analyse how products are advertised.

G OALS AT A GLANCE

G OALS AT A GLANCE

Read on to find

out about a clever

ad campaign that sends

an important message

to consumers. The Product

Is Nothing™

M a g a z i n e A r t i c l e b y H i l a r y K e e v e r

FROM THE INSIDE •119

After conceptualizing

Nothing™, Jack approached New

Zealand billboard companies to

sponsor the campaign, promoting

it under the auspices of

an art project. The Outdoor

Advertising Association of

New Zealand chose Jack’s

advertisements for a

market research campaign

to assess the effectiveness

of billboard advertising.

Jack received the use of

twenty-seven billboards at

no cost, although OAANZ

imposed a gag order for the

duration of the campaign.

Both parties declare the

Nothing™ campaign a success.

OAANZ’s statistics suggest over

a third of Aucklanders viewed the

billboards. The company also

received phone calls from

viewers asking where they could

buy Nothing™—viewers

knowledgeable of a brand but

not a product.

Jack’s campaign flourished

when the OAANZ billboard

campaign ended: she could

start talking. Three out of four

New Zealand TV stations

covered her story, along with

national newspapers, radio,

and magazines. “I think the

Nothing™ campaign proved

the point that you can market

anything if there’s enough

money behind it, that money

is basically the main thing that’s

required to convince the public of

something these days,” emphasized

Jack.

Some critics challenged Jack for

accepting the deal with OAANZ,

saying if the results were successful,

her campaign would encourage more

advertising. “That my anti-advertis-

ing message got completely funded

by one of the biggest advertising

organizations in New Zealand is

ironic,” said Jack. “I think it’s

perfect. The whole campaign is full

of irony and absurdity.” ◆

120 •FROM THE INSIDE

1. RESPONDING TO THE MAGAZINE ARTICLE

a. What is ironic about the Nothing™ campaign?

b. What is a gag order and why do you think it

was used?

c. Explain why you agree or disagree with this

statement from the article:

“Some critics challenged Jack for accepting the deal with OAANZ,

saying if the results were successful, her campaign would

encourage more advertising.”

d. This selection was originally printed in a magazine called Adbusters.

Find a copy of this magazine in your local librar y. With a partner,

discuss the magazine’s purpose, audience, and content.

e. With a partner, discuss the purpose of an ad campaign.

2. MEDIA MAKER DE V E L O P I N G PR O D U C T ID E A S

This is not the first time “nothing” has been advertised and sold. There

have been books and music albums promoted and sold that have been

blank inside. Think of your own example of a “nothing” product that people

might be persuaded to buy. What is it? How would you advertise it? Why

might people buy it?

3. MEDIA MESSAGES AN A LY S E AD V E RT I S I N G

With a small group, brainstorm the different types of advertising, such as bill-

boards or radio ads. Each group member can choose one type and research it,

finding out how successful this type of advertising is at selling products. For

example, you might investigate magazine articles on advertising, search the

Internet for ad agency sites, or talk to family and friends. Summarize what you

have learned in one or two paragraphs. As a group, compile your summaries,

producing a report on advertising. Work together to revise, edit, and proofread

the report.

SELF-ASSESSMENT:Do you listen to others when they offer comments and

criticisms? Do other people’s comments help you improve your work? Do you

offer comments to others in a fair, non-judgmental way?

Irony is the use of an idea,

word, or phrase to mean the

opposite of its normal meaning.

121

Are you aware of the techniques

advertisers use to persuade consumers?

Market Savvy

Teens

Almost two hundred youths

weighed in on the subject of

marketing to teens in the

first Young People’s Press and The

Toronto Star Internet forum.

The strongest response: They

are torn between two opposing

forces. One tells them, “Be who

you want to be.” The other tells

them, “Be who we want you to be.”

Most said they were trying to

decide whether to follow the way

the media represents “coolness” or

follow their own ideals and

principles.

And they had a lot to say about

how the media use implicit yet

powerful techniques to make a

profit.

Tim’s response was caustic.

“Instead of ‘Be young, have fun,

drink Pepsi,’ why [don’t advertisers]

say it in plain English: ‘You’re

stupid! Give us all your money!’”

There was a lot of agreement

that the media simply do not give

young people enough credit for

realizing what’s going on.

Others said the media

know how important it is for

adolescents to feel accepted and

they exploit it.

“The media play upon people’s

insecurities, especially [those of]

women,” says Molly Bell. “They

make us feel as if we aren’t ‘good

enough’ unless we have that certain

product.”

Write an essay about the effects of advertising.

Model the selection to write an article.

G OALS AT A GLANCE

G OALS AT A GLANCE

Newspaper Article

by Kathy Friedman

and Lauren Krugel

122 •FROM THE INSIDE

Although youth know compa-

nies feed on the inner workings of

their psyches, they admit savvy

marketing professionals are tremen-

dously difficult to resist.

“It seems like my whole

teenage life has been shaped by

what the advertisers tell me is cool

and what’s not,” says Camren A.

“It’s automatic now, if it’s on

TV, I want it. I’m eighteen and I

find it hard to pass a Gap store

without thinking of the song ‘They

call me Mellow Yellow.’”

It was a strong theme—the

media are there, the media affect

what they choose to buy, and

there’s absolutely nothing they

can do about it.

Young people said they are in

constant conflict between their own

values and those portrayed by the

media.

Since finding one’s identity is

so important to teens, they look to

role models for answers. That

makes celebrity endorsements

probably the most manipulative

way to get teens to buy products,

they said.

“I think for younger children,

it’s normal to wear clothes that

a celebrity wears. At that age,

celebrities are like heroes,” reflects

Jennifer-Ashley Kendall. “When you

reach a certain age you become

more opinionated and you realize

you like a certain style. You don’t

FROM THE INSIDE •123

care if someone else doesn’t like it,

it’s not theirs—it’s yours.”

However, others admitted they

still rely on celebrities to help them

create an identity even as they get

older.

When asked his definition of

cool, Matthew replied, “I can tell,

because the stars wear it, so it’s

cool.”

Teens like to feel like they are

part of something—and to many,

seeing their idols promoting prod-

ucts helped them feel better.

“I think that celebrity endorse-

ment is cool because if you have

the hat Tiger Woods does, you

might feel as if you are part of the

game,” Brian Lewis said.

Respondents also said that

discovering how to be cool is a

difficult and lonely process,

especially since no one seems to

agree what cool actually is.

What is cool?

Many argued coolness is about

being true to yourself. That’s easier

said than done, they admitted,

because the process of growing

older is about finding out who you

are—and many young people aren’t

there yet.

Sarah Leroux spoke for many

when she said: “All these teens

feel stereotyped and are basically

putting down the media, yet they’re

still buying the latest fads.”

Teens must always be on top of

what is “in” to make sure they are

accepted. “Yes, I do find myself

wanting the goods I see in commer-

cials because I do not want to be

the only one not wearing FuBu or

Nike,” said Brian Lewis.

What’s cool?

It depends

on where you’re

coming from.

Other young people admitted to

dressing like their friends, listening

to the same music, and having the

same interests as a way of defining

cool.

As E. Phillips put it, “To me

cool is what’s in. Not cool is if

you’re not like everyone else.”

Then again, people who hang

out with carbon copies of them-

selves often risk being stereotyped,

and that’s definitely not cool.

There’s a familiar cast of char-

acters in a typical high school, said

Nicole Mulholland: “You have the

preppies, goths, ravers, skaters,

rockers,...hip-hoppers, coolies, and,

of course, the outcasters.”

Why such sharply defined cate-

gories? Many young people seem to

feel it comes from wanting to

create an easily definable identity.

According to Camille R., this is

because of media influence. “Our

identity now seems to be defined by

what we wear, what we listen to,

and so on. There seems to be so

many advertisements that pressure

124 •FROM THE INSIDE

us teenagers into believing that

image is everything. We are so

pressured that we often confuse

image with identity.”

Image is our external appear-

ance, she said, and identity is who

we really are.

Not everyone falls into a cate-

gory, though, despite the pressure.

“That’s what makes us cool—

not following the in-crowd,” Laura

wrote. “When people look at me,

it’s exciting in a way. When people

dress all the same, it’s boring and

sort of depressing.”

Each cultural group also

embraces its own ideals of what is

acceptable. According to the teens,

the media have managed to exploit

this as well.

Christos wrote: “Sure I’m a

black guy with oversized clothing,

with a Walkman blarin’ Noreaga &

Mobb Deep, but how can [the

media define me] by these charac-

teristics only? I live in a white

suburban neighbourhood and I work

in a men’s suit store. So what does

that make me?”

“Cool is just

conformity

wrapped in

the guise of

self-expression.”

For some, the word cool is an

illusion, used by advertisers to con-

vince teens to buy their products.

“In the corporate sense, cool is

really just conformity wrapped in

the guise of self-expression,” said

Adi Persuad. A cool person embod-

ies “individuality, leadership,

confidence, rebelliousness, and faith

in one’s own beliefs,” whereas a

mass-marketed version of coolness

is about conformity—the complete

opposite.

Media pressure is not just con-

fined to advertising. TV programs

aimed at teens often present an

unrealistic image of what their lives

should be like. According to these

shows, all cool teens have lots of

gorgeous friends, wake up fully

made-up or perfectly coiffed, and

always have a girlfriend or

boyfriend.

Yes, teens can tell reality from

TV fantasy, but it’s hard to resist

the fantasy when all TV teens act

and look a certain way. Anastasia

Koshkin wrote: “Through these

shows, I find out how other people

my age should/often live.”

And other youth found that the

issues that some TV shows raise

have helped them deal with prob-

lems in their own lives, issues

like drugs, pregnancy, and sexual

harassment.

Product placement in movies

and TV shows is increasingly

blurring the distinction between

commerce and entertainment,

bringing us back to the days of

early TV when actors regularly

FROM THE INSIDE •125

endorsed products during their

shows. Many youth admitted being

seduced by this process, saying they

felt more in touch with the actors if

that actor ate a chocolate bar they

liked.

“To me, cool

is what’s in.

Not cool is

if you’re not like

everyone else.”

Bombarded with media images,

it is increasingly difficult for many

teens to find out who they really

are. The majority of youth revealed

in the YPP forum that they are

aware of the effect the media have

on them, yet they feel powerless to

stop it.

Sha-awn Marcano wrote that

even though wearing the best brand

names may seem shallow, “you just

can’t change something that the

whole media has clearly brain-

washed you into thinking is right.”

How can teens remove

themselves from the trap of a

pre-packaged, mass-marketed

perception of individuality?

“You just have to grow, mature,

and understand WHO YOU ARE

before you can break free of the

cool pressure,” wrote one youth.

“If you are defining yourself by

a subculture, by the music you

listen to, or by what brand of pants

you wear, you haven’t discovered

who you are yet…so keep search-

ing…and keep the faith. YOU are

somewhere in there. Explore.”

1. RESPONDING TO THE NEWSPAPER ARTICLE

a. In small groups, discuss the meaning of the following quotation from the

article:

“Image is our external appearance, identity is who we are.”

Which idea—image or identity—do you think is most important? Explain.

b. How does the article define cool? What is your definition of cool?

c. What person mentioned in this article is most like you? least like you?

Explain your choices.

d. Who has the greatest influence over you? friends? family? media

personalities? your “inner voice”? Give reasons for your choice.

126 •FROM THE INSIDE

2. MEDIA MESSAGES AD V E RT I S I N G ES S AY

The article raises a number of questions about advertising and teens. What

questions do you have about advertising and the way it may influence peo-

ple’s lives? Jot down a list and then choose one of your questions and use

it as the basis for an essay about the influence of advertising on teenagers.

Before you begin, develop a good thesis sentence and essay outline. Ask a

partner to help you edit and revise your first draft.

S T R A T E G I E S

S T R A T E G I E S

3. MEDIA MAKER A N E W S PA P E R AR T I C L E

This selection reports on an Internet survey conducted by The Toronto Star.

Reread the article, noting its features and organization. Use this selection

as a model to write a newspaper article about how people feel about some

aspect of media. You could write about role models, celebrity endorse-

ments, product placement in movies, or another topic of your choice.

Begin by surveying friends, school mates, and family about your topic.

How do they feel about it? What makes them angry? What do they appreci-

ate about it? What would they like to see changed? Have they ever com-

plained about it? Develop your questions into a questionnaire, passing out

this form to the survey participants. Like The Toronto Star, you could post

your survey on the Internet. If you do so, you may want to limit your partici-

pants to a certain age group.

Analyse the results of your survey. Write an article, reporting the

results of your survey, including some statistics, as well as quotations

from the participants. Include any conclusions you can draw from the

results. Remember to use the features and organization of “Market Savvy

Teens” as a model for your article.

Use a computer to give your newspaper article a design that is similar

to other newspaper articles. Publish it on the school’s Web site, in the

school newspaper, or share it with your classmates.

SELF-ASSESSMENT:In your notebook, describe those elements of writing

an article that worked well. What writing skills do you need to work on?

What would you do differently next time?

127

Respond personally and critically to ads.

Model the selection to create print ads.

G OALS AT A GLANC E

G OALS AT A GLANCE

Check out how these advertisers use advertising techniques to persuade their audience.

The Purpose Is

Persuasion

Print Ads from Canadian Magazines

128 •FROM THE INSIDE

FROM THE INSIDE •129

130 •FROM THE INSIDE

1. RESPONDING TO THE PRINT ADS

a. Which ad gives you the most information about what it is promoting?

the least? Which ad do you prefer? Why?

b. Which ad (or ads) is designed to appeal to your emotions? to your

intellect? to your sense of humour? Why would advertisers choose

these methods? (Read activity 2 to see other methods an advertiser

might choose. Have any of these methods been used in the ads?)

c. Which ad (or ads) depends upon you having some background

knowledge? What are the advantages and disadvantages to this kind

of advertising?

d. For one of the ads, explain why you think the ad agency chose its

image and message.

FROM THE INSIDE •131

S T R A T E G I E S

S T R A T E G I E S

2. MEDIA MAKER CR E AT E A PR I N T AD

Think of a product (real or imagined) that you could create a print ad for.

For whom is the product intended? This group will be your target market or

audience, and you should consider its needs and interests as you design

a print ad. The purpose of your ad is to persuade this target market to buy

your product.

As you design the ad think of how you can combine

text and visuals effectively. The text should describe the

product in a clever or humorous way, and may include a

slogan. Use photos or drawings, and perhaps a logo, to

create visuals for the ad. Here are a few examples of

the types of ads that are commonly used:

•Ads that show famous people—If it’s good

enough for me, it’s good enough for you.

•Ads that offer comfort—Toilet paper so soft you can use it to blow

your nose.

•Ads that offer great value—Buy one, get one almost free.

(Some conditions apply.)

•Ads that offer factual “proof”—Nine out of ten people choose Bix Bits

for breakfast.

•Ads that show beautiful people—If you buy this car, you’ll be a

supermodel, too.

•Ads that play on emotions—One day you may have this disease,

so give generously now.

Use one of the above methods, or a method of your own, to develop your ad.

You could use publishing and design software, if they are available, to put a final

copy of your ad together. Share your ad with a small group, explaining the effect

you hoped to achieve.

SELF-ASSESSMENT:Does your ad successfully combine text and images?

Does your ad provide your target market with enough information about the

product? Is your ad persuasive? Would you buy this product?

Aslogan is a short, catchy

phrase most often used by a

business or company to

advertise its product or service.

Alogo is an identifying symbol

or image used in advertising,

for example, Nike’s swoosh.

In September, 1999, a remark-

able event unfolded on TV

screens across Canada—the

launch of the Aboriginal

Peoples Television Network.

Broadcast live from the APTN

studio in Winnipeg, Manitoba,

the launch featured a three-

hour celebration complete with

speeches, storytellers, singers,

and dancers in traditional dress.

At first glance, viewers

might have assumed that

Canada’s fourth network was

launched overnight. In reality,

however, the APTN had been in the making for more than twenty

years. That’s how long it took for the Aboriginal communities and the

132 Explore ideas for a new TV specialty channel.

Debate a media issue.

G OALS AT A GLANCE

G OALS AT A GLANCE

Tuning in to

Article

by Marie

Verdun

In the 500-channel universe, the appearance of a brand new

broadcaster could go unnoticed—

unless it’s something really special.

FROM THE INSIDE •133

network’s founders to convince the media powers-that-be that a Canadian

TV network dedicated to programming by, for, and about Aboriginal peoples

was both necessary and practical.

The final result was a triumphant opening show—and the beginning of

lots of hard work.

If you tune in to Aboriginal Peoples TV (APT in your broadcast guide),

what can you expect to see and hear? The range of programming is similar

to that on other networks: a wide range of choices such as documentaries,

news magazines, dramas, entertainment specials, children’s series, cooking

shows, and educational programs.

Our People is a series of hour-long shows profiling Aboriginal people,

places, and events. It also imports specials of Aboriginal interest from other

countries such as the United States, Australia, and New Zealand. Other

programs such as Spirit of the Land and Tribal Journeys investigate the

experiences and beliefs of First Nations people, Métis, and Inuit from the

West Coast to the east.

Takuginai, which means “look here” in Inuktitut, is a program from

Nunavut aimed at five to seven year olds. Hosted by a mix of young people

and puppets (look for “Johnny” the lemming), the show explores cultural

values through fun and games. It also teaches Inuktitut numbers and

symbols.

A popular show for teens is Qaujisaut, meaning “to see, to find out.”

It’s a fast-paced program that deals with issues faced by Inuit youth who

sometimes feel caught between two cultures, between new ways and

traditional lifestyles. The show is broadcast in Inuktitut with occasional

English.

Which brings us to another

question: What language will you

hear when you click on APTN? It

varies: sixty percent of the network

shows are in English, fifteen

percent in French, and twenty-five

percent in a variety of Native lan-

guages such as Cree, Mi’kmaq,

Ojibwa, and Inuktitut. In other

words, the network is definitely

accessible to both Native and non-

Native viewers.

OBJECTIVES OF THE APTN

The APTN strives “to reflect the

Aboriginal community and give

Aboriginal people a sense of pride in

their history and their culture,” says

Jennifer David, the network’s

spokesperson. “Our other objective is

to ensure that Canadians have access

to our stories so they will see accurate

portrayals of our people.”

Creating eighteen hours of programming each day keeps everyone at the

Winnipeg broadcast centre very busy. With a permanent staff of only forty,

the network relies heavily on shows created by freelance writers, producers,

and directors. The Program Selection Committee is the group that considers

and selects proposals for new programs.

Program proposals may be submitted by people of any cultural or racial

background, but the network’s licence (granted by the CRTC—Canadian

Radio and Television Commission) suggests that preference be given to

Aboriginal producers. The idea is always to promote the original vision and

objectives of the network.

Although the hands-on programming is all centred in Winnipeg, the

APTN’s corporate offices are in Ottawa. Two of the important people

working there are Chief Operating Officer Abraham Tagalik and Board

Member Alanis Obomsawin.

Obomsawin is an award-winning documentary filmmaker who has been

directing documentaries for twenty-five years at the National Film Board of

Canada. After lobbying hard for the creation of an Aboriginal broadcast

network, she has remained very involved in the direction of the APTN and

all its ventures. Obomsawin acted as host for the spectacular launch of the

network.

Tagalik handles the business issues of APTN. He spent twenty years as

a radio announcer, TV producer, and network manager with the Inuit

Broadcasting Corporation. Tagalik stresses that APTN is not just another

specialty channel but a network like CBC or CTV, offering a full range of

programs. In other words, it’s an ongoing challenge.

Aboriginal broadcasting is definitely on an upswing, and Canadians

have said they approve. In January, 1998, an Angus Reid poll concluded that

two of every three Canadians supported the idea of a national Aboriginal

TV network.

In the past, Aboriginal people have felt both underrepresented and

misrepresented on TV. With the addition of APTN to the channel line-up,

Canadian audiences—Native and non-Native—have a long overdue

opportunity to see and hear the stories of our Aboriginal peoples, told

by the people themselves. We should all reap the benefits.

APTN was twenty years in the making. What will the next twenty

years bring?

134 •FROM THE INSIDE

FROM THE INSIDE •135

1. RESPONDING TO THE ARTICLE

a. Is the article objective or subjective? Support your opinion.

b. What did you learn from the article about how a TV network is

organized?

c. What TV channel do you watch most often? Why do you watch it?

What purpose do you think the channel serves?

d. What do these words and phrases from the article mean: ventures,

Angus Reid poll, and on an upswing? Add any other unfamiliar or

interesting words from the article to your personal word list.

2. MEDIA MAKER SP E C I A LT Y CH A N N E L S

Cable TV has introduced a number of specialty channels that concentrate

on a theme or a subject area, for example, Much Music and Arts and

Entertainment. Think of a new specialty channel you would like to see on

TV. List at least ten programs it might have. Write program guide listings for

your programs, including a brief summary, length of the show, and the time

of day or night when it is on. Be sure to give your specialty channel a name.

3. ORAL LANGUAGE DE B AT E A N IS S U E

Most TV channels are brought directly to homes by way of cable wires, and

cable companies charge a monthly fee for this service. Originally TV shows

were broadcast free, and were paid for by commercial or government

sponsors. In small groups, debate whether everyone, rich or poor, should

have the same access to TV programs.

SELF-ASSESSMENT:During the debate, did you listen to the opinions and

ideas of others? Did you support your own opinions with facts?

4. LANGUAGE CONVENTIONS AB B R E V I AT I O N S

Reread the article, locating the abbreviations. Record these

abbreviations, with their definitions, in your notebook. With a

partner, discuss the purpose, advantages, and disadvantages

of abbreviations. List some common media abbreviations—like

CBC or sfx—that are important to know as you work on a media unit.

An abbreviation is a

short form of a longer

word.

Perhaps our age has driven us indoors.

We sprawl in the semi-darkness, dreaming sometimes

Of a vague world spinning in the wind.

But we have snapped our locks, pulled down our shades,

Taken all precautions. We shall not be disturbed.

If the earth shakes, it will be on a screen;

And if the prairie wind spills down our streets

And covers us with leaves, the weatherman will tell us.

136 Respond personally and critically to poetry.

Use communication skills in small group discussions.

G OALS AT A GLANCE

G OALS AT A GLANCE

On the Box

The Forecast

Poem by Dan Jaff e

FROM THE INSIDE •137

How pure, how beautiful, how fine

Do teeth on television shine!

No flutist flutes, no dancer twirls,

But comes equipped with matching pearls.

Gleeful announcers all are born

With sets like rows of hybrid corn.

Clowns, critics, clergy, commentators,

Ventriloquists and roller skaters,

M.C.s who beat their palms together,

The girl who diagrams the weather,

The crooner crooning for his supper—

All flash white treasures, lower and upper.

With miles of smiles the airwaves teem,

And each an orthodontist’s dream.

‘Twould please my eye as gold a miser’s—

One charmer with uncapped incisors.

Reflections Dental

Poem by Phyllis McGinley

1. RESPONDING TO THE POEMS

What two viewpoints are presented in the poems? What is the opinion

of each poet about TV? What’s your opinion of TV? Do you think it’s an

important medium that enriches people’s lives? Do you think it’s an escape

from reality that makes it difficult for people to cope with real life? Explain.

2. POET’SCRAFT PO E T I C DE V I C E S

With a small group, discuss both poems. What is the tone

of each poem? How do the poets use poetic devices like

alliteration, simile, or rhyme, effectively? Choose an

image from each poem and explain what you think the

author means. Read aloud lines that you find particularly

effective, explaining why you like them.

Alliteration involves the

repetition of the same first

sounds in a group of words or

line of poetry; for example,

“He clasped the crag with

crooked hands.”

Bad

Driving

HAROLD: Our Car Buffs today are my Uncle Red and his best friend,

Dougie Franklin. We’ve received a letter that reads: “Dear Car Buffs. I

consider myself to be an above-average driver. However, the judge who

took my licence away suggested I may not be as good as I think. Exactly

how do you tell if you’re a bad driver?”

RED: Well, Dougie, bad driving is certainly your area of expertise.

DOUGIE: No kidding, Red. You want to know about bad drivers, I’m your

man. I must run into one of those bad drivers every month or so. Usually

head-on. Okay, first of all, I blame our driver education system.

138 Present a script.

Develop a script modelled on the selection.

G OALS AT A GLANCE

G OALS AT A GLANCE

How can you tell if you’re a bad driver?

Red Green asks an expert, Dougie, for the answer .

Script from The Red Green Show

FROM THE INSIDE •139

RED: Yep. You’re right there. I agree.

DOUGIE: I mean a kid spends four years at school learning how to control

a pencil, which has no moving parts, could never go more than about a

kilometre an hour, and won’t burst into flame if you roll it over. Then they

spend a few weeks learning to drive a two-tonne ball of metal, glass, and

rubber, which goes a hundred and fifty clicks an hour down the highway.

RED: A hundred and fifty?

DOUGIE: And them driving instructors spend hours teaching kids how

to parallel park and basically no time on stuff like avoiding high-speed

collisions. How much danger can there be while you’re parallel parking?

RED: Well, Dougie, remember that time you parallel parked into the tanker

truck and...

DOUGIE: That was a freak accident, Red. My point is that there’s all this

time on parking and nothing on high-speed collisions. And speaking for

myself, I parallel park maybe once a month, whereas I’m always avoiding

high-speed collisions.

RED: Not always, Dougie. Remember that load of cabbages...

DOUGIE: That was a freak accident, Red. The fact remains that we’re not

teaching kids right. And how can we? The teachers are talking theory.

You’ve gotta learn from someone who’s been there. Like my own family.

We’ve had every kind of automobile accident there is. Sideswipe, roll over,

head-on, rear-ender, T-bone. We’re the ones who should be teaching the

kids. You get me, my dad, and my brother in front of a classroom and I

guarantee ya it’d bring down the number of bad drivers on the road.

RED: Yeah. By three.

1. RESPONDING TO THE SCRIPT

a. Why could this segment of The Red Green Show be called a satire?

What is the point of this satire? Does it provide the reader with any

helpful factual information? Explain.

b. What do you find humorous in this script? Why? What is the punch line?

Briefly define humour.

c. The Red Green Show is a popular Canadian TV show. Based on this

script, explain why you think it might be popular.

d. In a paragraph, describe what makes a bad driver.

2. ORAL LANGUAGE PR E S E N T A SC R I P T

With two classmates, prepare a performance of this script. Think about how

the words should be spoken. Practise performing the script, experimenting

with volume, tone, expressions, pauses, and gestures. When you think your

delivery is just right, present the script to your class. You may want to video-

tape your presentation.

GROUP ASSESSMENT:Was your performance smooth and flawless? Did

each group member present his or her lines in sync with the others? Did

you work well together? Why or why not? If you work together again, what

would you do differently?

3. MEDIA MAKER DE V E L O P A TV S C R I P T

Assume that you’re a writer on The Red Green Show. You’ve been asked

to develop another short skit involving Red, Harold, and Dougie. Work

alone, or with a partner, to develop this script. Your script should be at

least a page long, and should include at least three funny points, including

a punch line.

Watch a few episodes of the show or reread “Bad Driving” to find

out more about these characters. Note how the writers use punctuation,

repetition, slang, and colloquial language.

140 •FROM THE INSIDE

141

Analyse the structure of magazine articles.

Create a comedy skit.

G OALS AT A GLANC E

G OALS AT A GLANCE

Would you like to know how to build a career

from being funny? You might pick up some

tips from this TV star—but remember, she’s…

Ma r y, Ma r y,

Q u i t e

Meet Marg Delahunty. She’s

Canada’s most fearless comic

character, lampooning politicians

and skewering the media weekly on

This Hour Has 22 Minutes.

Marg Delahunty isn’t real, of course.

She’s the delicious invention of Mary Walsh,

creator and co-star of CBC-TV’s This Hour

Has 22 Minutes, a show that attracts nearly a

million viewers. Besides the feisty Delahunty

(named for a friend of her Auntie May), Walsh’s

comic inventions include Dakey Dunn, a male

character based on her brother, Greg, and

Connie Bloor.

P r o f i l e b y C h a r l o t t e G r a y

The show’s knife-edged satire has catapulted Walsh to national fame,

along with her co-stars, fellow Newfoundlanders Cathy Jones, Greg

Thomey, and Rick Mercer. But while the brassy Marg would take such

acclaim as her due, it seems that Walsh can’t quite get used to success.

“Humour is a shield,” Walsh admits. “It allows you to say the

unsayable. I’m not in the least emotionally brave myself.” Sitting

in the sunny Toronto living room of writer Sandra Gwyn, a fellow

Newfoundlander, Walsh hugs her knees to her chin. With a mix of teeth-

gritting honesty and disarming chuckles, she talks about the self-doubt that

has dogged her from childhood.

There were eight children in Walsh’s family in St. John’s, but she

didn’t grow up with her siblings. In 1952, aged eight months, she caught

pneumonia and was sent next door to stay with her aunt because her

parents’ house was too damp for a sickly baby. She never went back, but

she recalls the wicked attraction of her next-door family, always getting

into trouble.

Auntie May is still a beloved figure in Walsh’s life, regularly phoned

and visited in her nursing home. But Walsh cracks her knuckles as she

recalls how she used to wonder, Why me? Why did they give me away?

“Being abandoned…it’s one of those things that plays on you.”

After finishing high school, Walsh made two mainland forays. The first

was to Colorado, with an American boyfriend. It was a disaster. The second

venture was to Toronto, at age twenty, to enroll in acting classes at Ryerson

Polytechnical Institute. During a summer job at CBC Radio in St. John’s,

Walsh had decided she wanted to be a performer. But in Toronto, she was

soon wooed away from school by a bunch of wickedly talented compatriots

who were putting on a play at Theatre Passe Muraille. The group, which

included Cathy Jones, Dyan Olsen, Greg Malone, and Tommy Sexton,

would later become the comedy troupe CODCO.

The play, Cod on a Stick, was loosely based on the group’s experiences

as Newfoundlanders in Toronto. It was a success from the day it opened in

1973, and it was sweet revenge for a troupe sick and tired of Newfie jokes.

Toronto audiences were so busy laughing that it didn’t seem to matter that

the jokes were on them! The play was also crucial to Walsh’s own develop-

ment: it took her back to the place where she didn’t feel an outsider.

After touring the play through Newfoundland and Labrador, the

CODCO members decided to stay home and use comedy to hold a mirror

up to their own province. They wrote about Newfoundlanders leaving for

Toronto, and the threat from greedy developers to St. John’s historic down-

town. It was in these skits that Walsh developed some of her finest comic

142 •FROM THE INSIDE

FROM THE INSIDE •143

creations, such as Mrs. Budgell, owner of a St. John’s rooming house. Show-

ing a prospective tenant around a broom closet, she says: “Don’t let the size

fool you, Mr. Macerelle. It is an efficiency apartment. You can stand in the

middle of the apartment and touch everything…”

Walsh’s characters succeed because she never patronizes them, says

Jackie Maxwell, former artistic director of Toronto’s Factory Theatre, who

worked with Walsh on a 1986 show called Hockey Wives. “Her characters

are too rich and human to be stereotypes, because she taps into their

psyches. It’s not a smart person play-acting someone stupid.” Sandra Gwyn

agrees that real emotion drives Walsh’s comedy. “She feels passionately, and

she’s not afraid to break taboos.”

By the early 1980s, Walsh was a well-established fixture in St. John’s.

Along with her CODCO work, she had taken on the administration of the

Longshoremen’s Protective Union Hall, a ramshackle building that housed an

exuberant explosion of experimental theatre. As director, actress, and writer,

she was involved with many of the hall’s shows.

As an artist, Walsh flourished in this maelstrom of creative activity. But

the small St. John’s world also meant suffocating intimacy and competition,

plus endless boozy post-performance binges. One dinner party ended with

the dining chairs and wineglasses smashed, and Walsh last seen sitting on

the top of a car.

Friends urged Walsh to do more theatre outside St. John’s. Usually she

ducked the challenge, but there were periodic glimpses of her in theatre on

the mainland. Then all the CODCO players reached a national audience

between 1987 and 1993, when the CBC ran seven seasons of half-hour

comedy shows. The show allowed Walsh to learn how to shape her satire for

TV. By the time CODCO went off the air, however, its members had had

enough. “It was like a family, wonderful and horrible,” says Walsh. “We’d

been together too long.”

Walsh was spreading her wings. She spent the summer of 1987 in a

small Innu village in Labrador, organizing a community theatre project

around the disruption caused by Armed Forces flights over Innu land. In

1992, she directed Ann-Marie MacDonald’s Goodnight Desdemona, Good

Morning Juliet at Montreal’s Centaur Theatre. In 1993, her performance in

Eugene O’Neill’s A Moon for the Misbegotten in London, Ontario, received

enthusiastic reviews.

By now, Walsh had a real family. In 1989, she had adopted a baby boy,

Jessie. “Jessie changed everything,” Walsh says. The most dramatic change

was her gradual acknowledgment that alcohol was interfering with her

life. “I’d always wanted to see myself as this romantic, wild, impassioned

actress.” But there was no

room in this vision for a

chubby baby and the

demands of motherhood.

So, in 1992, she quit drink-

ing. In the process, she

says, she grew up.

The success of This

Hour Has 22 Minutes has

reinforced Walsh’s

confidence. “You haven’t

got time to beat up on

yourself when you’ve got

to do the program every

week. And I know that,

even if by midweek I’ve

still got nothing ready to

record on Friday, somehow it all comes together.” The format—a spoof

newscast—allows Walsh to play to the best of her strengths, biting political

commentary.

Walsh may have finally achieved a balance between life and work, but

she still takes nothing for granted. As Marg Delahunty would say with a

loud guffaw, “It’s up with a rocket, down with the sticks, you know.”

144 •FROM THE INSIDE

1. RESPONDING TO THE PROFILE

a. What, if anything, does the title of the article have to do with the

nursery rhyme of the same name? Why do you think the author chose

this title?

b. Mary Walsh says in this article, “Humour is a shield.” What does she

mean? Compare this humorist’s definition of humour to the definition

of humour you wrote for “Bad Driving.”

c. Mary Walsh talks about the self-doubt that has plagued her since

childhood, yet she’s still able to perform in front of people. What

feelings of self-doubt do you have? Do these feelings help you or

prevent you from doing the things you want to do?

d. Not everyone is a performer. What type of personality do you think

makes a good performer?

The cast of This Hour Has 22 Minutes.

2. LITERATURE STUDIES MA G A Z I N E PR O F I L E S

“Mary, Mary, Quite Contrary” is a profile (an article that is part biography

and part “snapshot” of a well-known person). Reread this profile and note

what it says in the introduction, the examples it uses, and how it concludes.

Does it follow the model of an essay? Does it have a thesis that it develops

and proves? Compare this profile to others you have read. Briefly explain

what you have learned about the way profiles are written and organized.

3. MEDIA MAKER CR E AT E A CO M E D Y SK I T

Mary Walsh’s comedy skits often use humour directed at TV shows,

commercials, or famous people. Often, the humour grows from something

she and her co-writers find ridiculous in the original. If possible, watch a

few episodes of This Hour Has 22 Minutes and analyse how the group

creates humour.

Work with a partner to write a five-minute comedy skit on something you

find ridiculous (school lunches, a local politician, a commercial). Present

your scene to a group of students or the class and ask for feedback.

PEER ASSESSMENT:What do others think of your scene? Do they find it

as funny as you do? Do you agree with their comments? Explain.

4. LANGUAGE CONVENTIONS AD V E R B CL A U S E S

Adverbs can modify a verb or an adjective. A clause (a group of words that

has a subject and a verb) can also act like an adverb and sometimes is

used to introduce a sentence. Here is an example of an adverb clause:

After she finished high school, Walsh made two mainland forays.

What does the clause add to the sentence? It gives you information

about the verb, “made.” It explains when Walsh made her “mainland forays.”

Notice, too, that at the end of the clause there is a comma. The comma

separates the subordinate adverb clause from the main part of the sentence.

If a clause comes at the end of a sentence, it has no comma. For example,

Walsh made two mainland forays after she finished high school.

These words often begin adverb clauses: after, although, as, before,

if, once, since, until, when, and while. How could you use adverb clauses

to tighten your writing?

FROM THE INSIDE •145

Fade in the sound of summer music,

Picture a hand plunging through her hair,

Next his socked feet and her scuffed dance slippers

Close, as they kiss on the rug-stripped stair.

Catch now the taxi from the station,

Capture her shoulders’ sudden sag;

Switch to him silent in the barracks

While the room roars at the corporal’s gag.

Let the drums dwindle in the distance,

Pile the green sea above the land;

While she prepares a single breakfast,

Reading the V mail in her hand.

Ride a cold moonbeam to the pillbox,*

Sidle the camera to his feet

Sprawled just outside in the gummy grasses,

Swollen like nightmare and not neat.

Now doorbell nudges the lazy morning:

She stills the sweeper for a while,

Twitches her dress, swings the screendoor open,

Cut—with no music—on her smile.

146 Use oral skills to present the poem.

Analyse a war movie and write a short review.

G OALS AT A GLANCE

G OALS AT A GLANCE

Notes for a Movie Script

Poem by M.Carl Holman

*pillbox: a small, low fortress with very thick walls and roof, having machine guns,

antitank weapons, and so on.

FROM THE INSIDE •147

1. RESPONDING TO THE POEM

a. What story does the poem tell?

b. Why do you think the writer chose a movie metaphor?

What other metaphor might be appropriate in telling

this story? Explain your choice.

c. Locate the contrasting images the poet uses. What

sense or picture do these pairs of images convey

to you?

d. Why is there no music at the end?

2. ORAL LANGUAGE PR E S E N T A PO E M

Poems are meant to be heard as much as they are intended to be read.

With a small group, read aloud “Notes for a Movie Script,” and then listen

as others read it. What different images do you imagine on hearing the

poem? Discuss whether, when listening to a poem or song lyrics, you are

more aware of the language of the words or the images the language

creates in your mind.

3. MEDIA MESSAGES WA R MO V I E RE V I E W

With a small group, discuss a movie about war that you have all seen recently.

In your notebook, briefly describe the events in the movie, and record answers

to the following questions.

•Whose point of view was most of the movie told from?

•Whose point of view was not shown?

•Did the movie show all aspects of war? Explain.

•Did it glorify war in your opinion? Explain.

•How was music or sound effects used effectively or ineffectively?

•What shots or scenes were particularly effective? Why?

•What is your opinion of the acting? the script? the direction?

•Would you recommend this movie to others? Why or why not?

You could use these notes, and other points from your discussion, to develop a

brief movie review. Write your review independently, and then compare it with the

reviews of other group members.

SELF-ASSESSMENT:Check that your review includes a brief synopsis of the

movie without revealing the ending, your opinion on the acting, script, and

direction, and a recommendation to others.

Ametaphor is a comparison

that describes one thing as

something else, suggesting

that they share a common

quality.

To

Build

aFire:

S t o r y b o a r d b y P a t r i ck Fi t z g e r a l d

Shooting a movie involves carefully planning each shot to get it right

(on the first or second take, hopefully). A storyboard—a shot-by-shot

visual of each scene in a script or story—can help the director, and the

sound and special effects crew to foresee any problems. A detailed story-

board also helps them imagine what the finished movie will look like.

The following storyboard for the movie version of “To Build a Fire”

shows the shot-by-shot planning for one of the story’s most exciting scenes.

Scene:

A snowy, dark, winter day in the Far North. No clouds. Can tell from

clothing that time period is early 19th century.

Characters:

Man, wearing mittens, hat with ear flaps, moccasins, warm socks, and

a fur coat. Looks prepared for cold. Grey dog, wolfish, lean, hungry.

148 Develop a treatment for a movie.

Analyse the effect of movie techniques.

G OALS AT A GLANCE

G OALS AT A GLANCE

Before a movie gets

filmed, an artist develops

a storyboard—like

this one.

Bringing a Short Story to the Big Screen

1. POV: FROM ABOVE/CUT T O

LG SHOT, ESTABLISH ARCTIC SETTING/MOOD

FROM THE INSIDE •149

2. MED SHO T, CLOSE IN ON MAN AND DOG

FILLING SCREEN

SOUND FX: FIRE SIZZLES OUT

4. Man now desper ate.

ZOOM IN ON MAN’S F ACE/ZOOM IN ON EYES

5. Dog breaks away, backs up .

CUT TO DOG’S FACE/CLOSE-UP

SOUND FX: WHINE TURNS TO GROWL,

SNARLING

MAN’S PANICKED BREATHING

6. Dog has hackles raised, stance shows fear ,

anger.

CAMERA FOLLOWS MOVEMENT OF DOG

CUE MUSIC TO INCREASE VOLUME SLOWL Y

3. Man tries to grab dog with arms. Dog

struggles.

SOUND FX: WHINING OF DOG

150 •FROM THE INSIDE

7. Man looks despairingly at frozen hands .

FADE TO MAN/CUT TO HANDS/TO CLOSE-UP

OF DISMAYED FACE

PULL BACK TO FULL SHOT INCLUDING

THE DOG

8. Dog returns to unlit fir e. Man tries to

warm arms .

MED SHOT OF MAN AND DOG

CUT TO MAN’S ARMS FLAILING

SOUND FX: BEAT OF ARMS DROWNS OUT

MUSIC

9. In panic, man runs, stumbling through snow .

SHOT OF MAN AND DOG, PANNING T O

BLUE SKY

CUT SOUND FX OF BEATING ARMS SHARPL Y,

TO SOUND OF RUNNING, HEAVY BREATHING

10. Man has vision of Mercur y, Roman

messenger of gods .

MED SHOT OF MAN

SUPERIMPOSE IMAGE, HIS VISION OF

SELF AS MERCURY

CLOSE-UP ON MERCUR Y’S WINGS

SOUND FX: HOWLING OF DOG

FROM THE INSIDE •151

11. Man stumbles and falls .

MED SHOT OF MAN FALLING

12. Man rests. Looks peaceful.

MED SHOT OF CRUMPLED BOD Y

CLOSE-UP ON HANDS/CUT TO F ACE

CUE MUSIC, H AUNTING MELOD Y

SUGGESTING COLD DEATH

13. Man forces himself to rise, begins to run

again.

POV: FROM ABOVE SEE MAN RISE

PULL OUT TO A SHOT FROM GROUND

LEVEL

SOUND FX: LABOURED BREATHING,

RUNNING

13. Man falls. Dog moves in, sits to watch

alertly.

POV: DOG’S EYE VIEW OF MAN

PULL OUT TO MED SHOT INCLUDING DOG

FADE TO CLOSE-UP ON MAN’S F ACE

152 •FROM THE INSIDE

16. Dog moves off, the survivor. In distance ,

smoke indicates salv ation is not that far

away.

POV: FROM GROUND SEE B ACK OF DOG

FOLLOW AS HE TR OTS AWAY INTO

DISTANCE

CUT TO SHOT OF ARCTIC

LANDSCAPE/AS IN OPENING OF

SEQUENCE.

15. Man closes eyes, speaks, and after a while ,

dies. Dog sniffs warily .

DIALOGUE: “YOU WERE RIGHT, OLD HOSS;

YOU WERE RIGHT .”

CUT TO MED SHOT OF MAN AND DOG

CUT TO DOG

SOUND FX: DOG SNIFFING, WHINING

1. RESPONDING TO THE STORYBOARD

a. Read the short story “To Build a Fire” on pages 99–113. How does

the last scene of the short story compare to this storyboard?

b. Do you think you would like this movie? Why or why not? What

elements of movies does it include that you usually enjoy?

c. Why do you think stories are often changed when they are made into

movies?

d. Movies are a visual/auditory medium. Prose is meant to be read and

sometimes heard. Both mediums, though, use some similar elements.

Explain what you think they are and how they are used differently in

each medium.

pov: point of view

med shot: medium shot

lg shot: long shot

sound fx: sound effects

FROM THE INSIDE •153

e. Music is suggested at various places in the storyboard. What music

would you choose for these parts and why?

f. Add a “voice-over” narration to the storyboard sequence using the

author’s words. To add your narration, you should be able to answer

these questions: What shots should have narration? How much should

you add? Should it be in the first or third person?

2. MEDIA MAKER MO V I E TR E AT M E N T

Scripts are rarely sold to a movie producer without someone first presenting

a story synopsis called a treatment. This is a short narrative—without a lot

of technical movie description—that gives a sense of what the movie will be

about. Write a one-page treatment for the short story “To Build a Fire.” Be

sure to emphasize the dramatic elements that would make this movie

interesting. Be aware that a movie is at least ninety minutes long. Short

stories often don’t have enough action to last this long on the screen.

What other events will you have to add to make this story a feature-

length film?

3. MEDIA MESSAGES AN A LY S E TE C H N I Q U E S

Filmmakers use a number of techniques to create a story: photography,

sound effects, music, lighting, editing, and sometimes special visual

effects. Select one of these elements (or one of your choosing) and,

keeping it in mind, watch a movie. Write a one-page review explaining

how the element you have chosen enhances or lessens the effect and

enjoyment of the movie.

SELF-ASSESSMENT:How critical are you when you watch a movie or TV

program? Do you notice techniques such as photography or sound effects?

Are performances more important to you than technique? Explain.

The Saga

of Filming

Never Cry Wolf

The Saga

of Filming

Never Cry Wolf

Even before he was fully awake, the man could feel the late summer

afternoon change course. He had dozed off after a solitary swim in an

arctic lake, and now he found himself in the path of a heavy-breath-

ing herd of caribou. Some of the animals seemed agitated. Scanning the

herd, the man saw why: they were being driven by a pack of wolves

hunting along their flank. Impulsively, the man began to run.

Zigzagging across the tundra, he was swept along with the chase. He

saw the way the wolves worked, testing the caribou with quick bursts that

were just as quickly abandoned if the deer seemed strong. Then the wolves

sensed one sick caribou and poured on the speed, isolating the animal from

the rest of the herd and running it hard. The fatigued buck turned to face

his attackers on a small rise, but in an instant 5 wolves flew at him like

blades from a knife thrower’s hand. They knocked the buck down on the

first strike and killed him while other caribou hurried past, sniffing the air.

Those who see Carroll Ballard’s Never Cry Wolf*may find their own

nostrils flaring, for this hunting scene vividly conveys both the power of

the wolf pack and the misconceptions many have about Canis lupus**.

Based on the 1963 Farley Mowat bestseller of the same name, the movie

154 Respond critically to the article.

Analyse the use of phrases and clauses.

G OALS AT A GLANCE

G OALS AT A GLANCE

Unco-operative caribou and wolves that had

to be taught to be wild were only

some of the problems in making this hit movie.

Article by Bruce Brown

*Never Cry Wolf: a movie based on a Farley Mowat novel of the same name, was released in theatres

in 1983. It was directed by Carroll Ballard and starred Charles Martin Smith and Brian Dennehy.

**Canis lupus: wolf.

FROM THE INSIDE •155

tells of a bearded young biologist named Tyler who is studying arctic

wolves for the Canadian Wildlife Service. He finds that wolves eat chiefly

mice and rodents. When they do kill a sick or injured caribou, they confirm

the Inuit saying, “The wolf keeps the caribou strong.”

The tale that Ballard brings to the screen is about the loss of wildness

in the world. The same directorial eye with which he made The Black

Stallion, a landmark in animal photography, is evident in the handling of

the wolves. The three wolves that Tyler comes to call George, Angeline,

and Uncle Albert emerge as characters who watch Tyler when he doesn’t

realize it, but let him watch them only when they choose. Their habits

structure Tyler’s days, and in the end they propel the film to its dramatic

climax.

To play Tyler, Ballard chose Charles Martin Smith, best known for

his role as Terry in American Graffiti. Two Canadians play other major

parts: Samson Jorah plays Mike, and Zachary Ittimangnaq plays the wolf

shaman Ootek.

Ballard managed to coax exceptional performances from his animal

stars—even though all the wolves in the film were raised in captivity and

had to be taught to behave like wild wolves.

A scene from Never Cry Wolf.

Almost as remarkable as the animal scenes, are the difficulties the

Never Cry Wolf crew encountered during what became a marathon filming

in the North. In his planning in early 1980, Ballard discovered it would be

impossible to use wild caribou in a critical sequence. Some Inuit near

Nome, Alaska, agreed to rent him a herd of about 2500 domestic caribou as

long as the filming ended on June 15, when they would round up the

animals and cut off their velvety new antlers, prized in Asia as an aphro-

disiac.

But the sequence called for no snow on the ground, and the snow didn’t

melt until the beginning of June, so Ballard and his crew had about two

weeks to shoot. “It rained the first 10 days,” he recalled. “On the 11th day,

buyers arrived with briefcases full of money for the antlers.” Then the

animals disappeared in a storm, and it took helicopters and riders several

days to find them. With Ballard’s production manager negotiating to hold

off the Inuit and the buyers, shooting began.

In one scene, after emerging nude from a lake, Smith was to mingle

with the herd. “I was supposed to spring over an embankment, surprise the

caribou, and run among them. When I went over the top, though, they were

long gone. You can’t just sneak up on caribou—they make their living not

being sneaked up on.”

Ballard did not finish shooting before the caribou had their antlers cut

off, and he decided to push on to Skagway, Alaska, for the next sequence.

The roving film crew, made up largely of technicians from Vancouver, came

to resemble a sort of arctic commando outfit that had to learn to accommo-

date to Ballard’s style. He was always willing to keep reshooting a scene

until it was absolutely right, or to sit and wait for the weather he wanted.

Thus, the filming of Never Cry Wolf stretched into more than 9 months

over a period of a year and a half.

Probably the most dangerous stunt in the movie occurs when biologist

Tyler falls through lake ice, sinks to the bottom under the weight of his

gear, fights free to the surface, shatters the ice with his shotgun, and drags

himself to the shore. In preparation, holes were cut in the half-metre-thick

ice and allowed to refreeze a bit. Underneath the ice, ropes and platforms

were rigged; after Smith fell through, divers would give him oxygen and

help get him in position to break back up through the ice.

“Right away,” recounts Ballard, “2 of the divers got into trouble—

oxygen-regulator freeze-up—and had to be hauled out. Then a stunt person

tried, and he got into trouble. So we were down to Charlie, and I asked

him. ‘You want to try it?’” Ballard laughed. “Charlie said, ‘Sure’—he put on

the gear, dropped into the lake, swam 15 m under the ice and did the

156 •FROM THE INSIDE

FROM THE INSIDE •157

scene. Not once, but twice.” The second time was to satisfy Ballard’s desire

to get the segment just right.

To find the 2 Inuit actors, Ballard dispatched freelance consultant John

Houston on a more than 16 000-km trek across the Canadian North. “It was a

tremendously romantic journey,” said Houston, a Canadian whose father, James,

is the author of The White Dawn and other books about the Arctic. “We trav-

elled by plane, snowmobile, and dogsled.”

At each settlement, Houston—who later became Ballard’s assistant—

broadcast a radio invitation to local residents to audition for the movie.

“I would say, ‘Good morning, I am the son of the Left-Handed Man’—my

father’s name among the Inuit—‘and I have come on behalf of the folks who

bring you Wonderful World.’

“Because Walt Disney has provided a good deal of TV entertainment in

the Arctic, scores would show up to audition on videotape. Many of the

shows they put on for us were quite imaginative. One man demonstrated

his expertise with an 11-m dog whip.”

At Baker Lake, Nunavut, Houston found the Inuit who plays Mike. “At

the end of our taping sessions,” Houston said, “a man walked in who said

his name was Samson Jorah and that he was an apprentice mechanic and

had done some hunting.” As Jorah opened up and delivered a monologue,

he reminded Houston of the young Buster Keaton. “He had great comic

ability, delivering deadpan lines with wonderful intuitive timing. When

I screened the tape for the director, he said, ‘I want to have a shot at this man.’”

Houston’s next stop, Pelly Bay, provided the second Inuit character, the

wolf shaman Ootek. “When we asked about an older man to appear in the

movie, everyone said, ‘Older man? Talk to Zachary Ittimangnaq. He’s got a

lot of movie experience.’ It turned out that Zachary had appeared in a series

of films made by the National Film Board about the old ways of the Inuit.

Fifteen years later, he was living as a sort of retired movie star in Pelly

Bay.” Houston knew right away that Ballard would choose Ittimangnaq to

play Ootek because he is a venerable man, “what the Japanese call a living

national treasure.”

The 30 wolves used in making Never Cry Wolf were accompanied 24 hours

a day by trainers skilled at the judicious dispensation of chicken parts, wieners,

and, sometimes, authority. Ballard once persuaded Kolchak, the wolf that plays

George, to sniff for a close-up by having a live chicken in a cage sitting on top of

his own head as he sat behind the whirring camera.

The wolves not only had to be coaxed and coached, they had to learn at least

some lessons of the wild the hard way. The 5 used in the caribou attack-scene,

for instance, had never hunted caribou. The leader of the pack, a large male

named Avatar, tried to

take on a healthy

caribou buck with a

broad span of antlers.

Avatar ran the buck for

nearly a kilometre and

finally drove it out into

the water. The wolf

dove in pursuit, but as

soon as his feet no

longer touched the

strand, the caribou (still

touching bottom)

wheeled, caught the

wolf with its rack and

hurled him high in the

air. “I’ll never forget the

look in Avatar’s eyes

when he came down,”

says Debbie Coe, the

wolf’s trainer. Avatar survived the encounter, and thereafter the wolves con-

centrated on the weaker members of the herd.

When the Never Cry Wolf crew returned to Nome, Alaska, in June 1981

to have a second try at the caribou hunt sequence, wolves and people were

better prepared, and the crucial scene was finished. But even with all

filming completed, months of work remained.

“The problems in shooting were nothing compared to what we had in

postproduction,” says Ballard. The material was edited, re-edited, and

eventually cut to 2900 m of film from an original 229 000 m. At last, 31/2

years after starting the project, Ballard was satisfied.

Some of the movie’s happiest incidents just happened to be filmed in

Ballard’s eagerness to get it all. At the very end of Never Cry Wolf, while

the credits roll, Tyler and Ootek sit together in the evening sunlight. Tyler

makes 3 snowballs, juggles them, and then hands them to the old man. The

grey-haired wolf shaman takes them with a laugh, tries unsuccessfully to

match Tyler, and then performs a juggling pantomime. In this spontaneous

moment fact and fiction meet, like hands pressed to the mirror, and

become the image of 2 people having the time of their lives.

158 •FROM THE INSIDE

Tyler threatens poachers who have been capturing wolves.

FROM THE INSIDE •159

1. RESPONDING TO THE ARTICLE

a. What do you think the purpose of this article is?

b. Reread the first two paragraphs. What impression do they convey?

Compare them to the last paragraph. How are they similar? What idea

is the author trying to express in the introduction and the last

paragraph?

c. How is the director of the movie portrayed? What do you imagine are

the qualities that would make a good movie director?

d. Does the author have a personal point of view? Discuss why you think

writers of information articles should or shouldn’t have a point of view.

2. LANGUAGE CONVENTIONS PH R A S E S A N D CL A U S E S

Simple sentences are made up of a subject and a verb, for example, “She

thinks” or “The dog is barking.” Of course, most of what you read, as well

as what you write, uses more involved sentence

constructions. Phrases and clauses are elements of

sentences that allow you to express more complex

ideas. Look at the definitions at right and compare

them to the following examples from the article.

Phrase To play Tyler, Ballard chose Charles

Martin Smith, best known for his role

as Terry in American Graf fiti.

Clause As Jorah opened up and delivered a

monologue, he reminded Houston

of the young Buster Keaton.

Each phrase and clause modifies some part of the main sentence.

What do the above underlined words modify? Reread “The Saga of Filming

Never Cry Wolf” and list a few more phrase and clause examples,

explaining what they modify.

SELF-ASSESSMENT:If you examine your own writing, you will see that you

use both phrases and clauses. Do you know what they modify? Do they

help make your writing clearer?

Aphrase is a group of related

words that does not have both

a subject and a verb.

Aclause is a group of related

words that has both a subject

and a verb or verb phrase. A

main clause is an independent

sentence. A subordinate clause

can’t stand alone as a sentence;

it supports the main clause.

P R O C E S S

Amovie critic’s job is to let the audience

know if a movie is worth seeing. To be

a great critic, you should know your audience,

be able to state your opinion clearly and

concisely, and really love the movies.

Review Styles and Features

Take a look at the variety of movie reviews in

newspapers, magazines, video and TV guides,

and on Web sites. Take note of the different

styles and approaches to reviewing. These

are the common elements in movie reviews:

•basic information about the movie

•an opinion on the overall quality of the movie

•supporting evidence to back up the opinion

•a descriptive opening sentence

•the movie title and genre (romantic comedy,

drama, documentary, horror, and so on)

•the names of the leading actors, producers,

director, and sometimes the cinematog-

rapher or screenwriter

•a final rating

At the Movies

Choose a movie that you think your readers

will want to see. Remember to bring a note-

book when you view the movie so that you

can make notes either during or immediately

after the screening. Jot down the title, the

director, the leading actors, and any other

pertinent information.

After you’ve seen the movie, think about

your initial reaction to it. You might want to

focus on the following elements and record

your responses to them.

•The actors: Were they well cast? Were

they good actors or not?

•The directing: Did the director handle

the actors and screenplay well?

•The screenplay: Was the script mediocre

or superb?

•The cinematography: Was the camera work

spectacular or boring?

•Summarize and describe a movie. •Present an opinion with supporting evidence.

160 •FROM THE INSIDE

Writing Your Review

Here are some strategies you can use to help

you organize and write your review.

1. Decide on the one major element that made

the movie good or bad. This might be the

acting, direction, or screenplay.

2. Your opening paragraph should grab the

reader’s attention by setting the tone of the

review. It needs to include a description of

the movie as well as your opinion of it. Use

vivid adjectives, such as fast-paced, witty,

disturbing, shocking, or action-packed.

3. The synopsis, or summary, of the movie

should be brief. It should describe the main

action or conflict and characters without

giving away the whole story or the ending. If

what makes the movie so good is a surprise

in the plot that you have to reveal, include a

warning giving the reader a choice about

whether or not to keep reading.

4. Give your opinion of the movie, offering

evidence to support it. Examine why you

have such strong feelings about the movie.

Ask yourself the following questions:

•Was the story well-developed?

•Were the characters believable and multi-

dimensional, or stereotypical? If they were

stereotypical, was there a good reason?

•Was the movie too long or too short?

•Were you entertained throughout the movie

or were there parts that dragged?

•If you state that the movie was funny and

well-written, give examples of humorous

lines. If you claim that the acting was poor,

offer reasons. If you have mixed feelings

about the movie, sort out what you believe

were the good and bad parts, and write

about these separately.

5. End with a concluding statement explaining

why you recommend or do not recommend

the movie.

6. Give the movie a rating. You can use letters

of the alphabet (A being the best, D being

the worst) or stars (five stars, the top rating,

one star, the lowest). Expressing your per-

sonal opinion here is vital, as many readers

will determine whether or not to see a movie

based on your review and rating.

Revising Your Review

At the revision stage, you have a chance to

make sure your review has achieved the right

tone and mood, and will be useful in helping

your readers decide whether or not to see the

movie.

Self-Assessment

Use the checklist below to assess your review.

❏I researched various types of reviews.

❏I selected a movie that was appropriate for

my audience.

❏I watched the movie with a critical eye,

examining the writing, acting, cinematog-

raphy, directing, music, and so on.

❏I recorded my initial reactions to the movie.

❏I informed the readers about the basics of

the movie.

❏I presented my opinions and supported them

with examples.

P R O C E S S

FROM THE INSIDE •161

Internet

IsHero’s

W

indow

CANTERBURY, England

Hero Joy Nightingale lets

the whole world know

what’s on her mind, though

she’s unable to speak or

walk.

Nightingale puts

together an Internet maga-

zine that boasts readers in

77 countries and guest

writers like U.N. Secretary-

General Kofi Annan,

Canadian author Margaret

Atwood, and the leader of

the Anglican Church,

Archbishop George Carey.

Now on its 5th issue,

From the Window began 2

years ago as a way for Nightingale to

meet people beyond Canterbury, the

fabled city where she lives.

It has evolved, however, into

an acclaimed and award-winning

project that led to a visit with Annan

in his 38th-floor office at the United

Nations headquarters in New York, a

globetrotting journey to pick up a

prize in Australia, and a rush of new

friends.

“I can’t find the superlative to

describe it,” says Wendy Clarke, head

162 Develop a form for evaluating Web sites.

Analyse the structure and content of newspaper articles.

G OALS AT A GLANCE

G OALS AT A GLANCE

When it comes to publishing

magazines, the Internet

has changed many things.

Hero Joy Nightingale

demonstrates how .

NEWSPAPER ARTICLE BY MARA BELLABY

Hero Joy Nightingale, who has a rare neurological condition, puts

together an Internet magazine that boasts readers in 77 countries

and guest writers such as Margaret Atwood.

FROM THE INSIDE •163

of occupational therapy for the East

Kent Health Authority, who has

worked with Nightingale since she

was 2. “It has opened up the world

to her.”

Nightingale was born with what

doctors call a “locked-in condition.”

It is marked by an inability to

perform complex movements of any

of her muscles, abnormally low

muscle tone, and an unknown

neurological disorder.

To communicate, Nightingale’s

arm must be supported while she

scrawls letters into an assistant’s

palm. The “enabler,” currently

Nightingale’s mother, must

recognize the subtle movements

of Nightingale’s hand and transcribe

her thoughts. It is a slow, arduous,

word-by-word process.

“Writing is everything,” says

Nightingale. “Without writing I am

nothing because everything I feel,

think, and need must be conveyed

through my spelling.”

It is that love of writing—and

meeting new people—that has made

the Internet such a critical part of

her life, she says.

Working with her mother in a

cozy room overflowing with books,

Nightingale spends all day in front

of the computer screen. She hunts

down potential essayists, sifts

through contributions, and puts

down her own thoughts.

It is nearly a full-time job—for

Nightingale and her mother, who

must type all of her dictation into the

computer.

Nightingale, who also composes

music and plans giant art installa-

tions, keeps a list of people she wants

contributions from for the magazine.

Successes so far: Annan, Atwood, and

Helen Sharman, the first Briton in

space. Among those on the wanted

list: new British poet laureate Andrew

Motion, writer John Mortimer, and

tennis star Tim Henman.

“It’s very difficult for me to

explain or even understand why

some small percentage of my targets

respond and an even smaller

percentage respond with an article,”

Nightingale says. “But it’s very nice

when it happens.”

From the Window is graphically

simple. But the heavy-hitting contrib-

utors who write first-person accounts

of their experiences and Nightingale’s

blunt talk about being disabled—put

the site in a category all its own.

“I don’t dwell on what I might

have been like if I were not disabled,

because it’s too ridiculously silly to

do so,” Nightingale says.

It is her straight-talking descrip-

tions about herself and her disability

that make From the Window come

alive.

“I have a lot to do and I have to

get on with it,” she says.

From the Window can be found at <http://atschool.eduweb.co.uk/hojoy/>.

#1: Content (is King or Queen!)

No matter how flashy or impressive a Web site is, it will ultimately

be judged by its content. Is the text well written? Is it succinct

and communicative? Is it tailored to the target audience? These

questions are paramount for the design of a successful Web site.

+

#2: Visual Appeal

Layout, image quality, and colour scheme each play an important

role in the overall appearance of a Web site. The legibility of the

text should be top priority—always try to have a high contrast

between the text and the background.

+

#3: Creativity

Develop a theme or metaphor for the Web site. It is challenging,

but well worth the effort. When the images and overall look of a

site create “thematic glue,” the site is an experience as opposed

to a mere collection of information.

+

#4: Ease of Navigation

Is the information logically laid out? Would a novice user be able

to navigate easily through the site? How deep into the site is the

critical information? Always test the site with inexperienced Web

users and use their feedback. Create a navigation scheme that

makes sense for the novice but that doesn’t annoy the expert.

Use colour coding where possible and keep a consistent layout.

164 •FROM THE INSIDE

Web Tips:

T

he

E

quation

FROM THE INSIDE •165

+

#5: Responsiveness

“If I don’t see something in ten seconds, I leave!” Believe it

or not, this is a very common statement among Web users.

Sites that download quickly are sites that will be used at least

once! Ensure that images appear quickly, but without compro-

mising on image quality. Have the text download first and then

let the images fill in.

+

#6: Multi-Platform Compatibility

Does the site perform properly on the major browsers? On

different releases of the browsers? Does the site work well on

low-end systems (640X480 resolution and 256 colour-depth)?

What about high-end systems? Does the site look great on

Apple systems as well as PCs? These questions are critical

since you have no way of controlling the user’s environment.

+

#7: Marketing

“Build it and they will come.” This statement is a fallacy on

the Web. The site must be easy to find from the commonly

used search engines. All marketing materials, including print

advertising, letterhead, and so on, should promote the site.

Encourage repeat visits by ensuring that the site is not static.

Keep it fresh by changing content regularly.

=

Result

An award-winning high traffic site!

166 •FROM THE INSIDE

1. RESPONDING TO THE SELECTION

a. Why is the Internet a particularly important tool for Hero Nightingale?

b. On the Internet, find an example of a personal Web site (or examine

From the Window). Write a brief review of the site.

c. The Web tips are written to help explain how to create a successful

Web site. Explain whether you think this information is helpful.

d. List the information on Web sites that you didn’t understand.

What resources could you use to find this information?

e. What did you learn from this article about creating e-zines and

Web sites? What more do you want to learn?

2. MEDIA MESSAGES WE B SI T E EVA L U AT I O N

Web sites on the Internet use both print and visual media to convey infor-

mation. They are organized with sections and subsections. Not all sites,

however, are interesting, easy to follow, or comprehensible.

Create a report form that you can use to evaluate Web sites. For exam-

ple, your report form could contain the subject or purpose of the site, how it

is organized, how easy it is to get around or navigate, its use of graphics,

and whether it is easy or difficult to read and understand. Use this form to

assess several Web sites. Share this information with your classmates.

3. MEDIA MESSAGES AN A LY S E NE W S PA P E R AR T I C L E S

If you examine newspaper articles, you’ll find they have many elements in

common. Choose several newspaper articles and answer these questions:

•What does the first paragraph tell you about the article?

•How is the heading related to the first paragraph?

•Does each article answer the 5 W’s of journalism?

•What is the average length of each paragraph?

•How does each article use quotations?

Summarize what you have learned about how newspaper articles

are written.

SELF-ASSESSMENT:Choose an article that you’ve written and shorten it by

half its length. Does it still convey the same basic information? Does it

read better in the shortened version?

FROM THE INSIDE •167

REFLECTING ONTHE UNIT

SELF-ASSESSMENT:ME D I A

As you worked on the activities in this unit, what did you learn about

•films and film scripts?

•storyboards?

•movie reviews?

•news reporting?

•TV?

•Internet Web sites?

•advertising?

How did this unit help you learn more about what goes on behind the scenes in

creating various media? Write a statement in your notebook explaining what you

learned.

MEDIA MAKER MO V I E S

With a partner, discuss what you learned about analysing and creating movies

during this unit. Together, generate ideas that you think would make a good

movie. Write a one-page film treatment proposing the best idea for the next

blockbuster. Outline how you think the story should develop. Write a one-

paragraph description for each of the main characters. Share your treatment

with another group.

MEDIA MESSAGES AN A LY S E AD S

Choose a print or TV ad that you think is effective. Show the ad to a number

of people, and have each person write a sentence or two about what image or

message the ad conveys to them. Summarize the results of your survey.

Now research the product the ad is selling. Look in consumer magazines

and books for information or search the Internet for consumer opinions and

information. Interview people who have used the product and ask for their

recommendations.

Compare your findings with the summary of your survey. In an essay, explain

whether or not the ad accurately described the product. Did the facts you

discovered support the claims in the ad?