[User] <image>

[User] Convert this mind map into a clear structured data format.

[Assistant] <s_map><s_node-0><s_text>Dehydration</s_text><s_node-1><s_text>Risk Factors</s_text><s_node-2><s_text>Infants and children</s_text><sep/><s_text>Older Adults</s_text><sep/><s_text>Chronic illnesses</s_text><sep/><s_text>Athletes</s_text><sep/><s_text>(Celluci,2014)</s_text><s_relation>Older Adults<sep/>Athletes<sep/>Infants and children<sep/>Chronic illnesses</s_relation></s_node-2><sep/><s_text>Excessive loss of fluid from the body occurs when the loss of fluid exceeds the fluid intake.</s_text><sep/><s_text>Etiology</s_text><s_node-2><s_text>Vomiting</s_text><sep/><s_text>Diarrhea</s_text><sep/><s_text>Renal Problems</s_text><sep/><s_text>Excesive Sweating</s_text><sep/><s_text>Burns</s_text><sep/><s_text>Abdominal Surgery</s_text><sep/><s_text>(Celluci, 2014)</s_text><s_relation>Abdominal Surgery<sep/>Renal Problems<sep/>Burns<sep/>Diarrhea<sep/>Vomiting<sep/>Excesive Sweating</s_relation></s_node-2><sep/><s_text>Isonatremic</s_text><s_node-2><s_text>Equal loss of water and electrolytes</s_text><sep/><s_text>(Celluci,2014)</s_text><s_relation>Equal loss of water and electrolytes</s_relation></s_node-2><sep/><s_text>Patho</s_text><s_node-2><s_text>Dehydration is when the normal compensation of fluid in the bloodstream can not be corrected by stores fluid. The fluids are lost from the intravascular spaces because of lack of intake or excess loss interstitial fluids move in to restore vascular volume because the volume of fluid in the interstitial space limited other compensation system are initiated to stored fluid volume.</s_text><sep/><s_text>(Damsick,2013)</s_text><s_relation>Dehydration is when the normal compensation of fluid in the bloodstream can not be corrected by stores fluid. The fluids are lost from the intravascular spaces because of lack of intake or excess loss interstitial fluids move in to restore vascular volume because the volume of fluid in the interstitial space limited other compensation system are initiated to stored fluid volume.</s_relation></s_node-2><sep/><s_text>Hypernatremic</s_text><s_node-2><s_text>Loss of water</s_text><sep/><s_text>(Celluci,2014)</s_text><s_relation>Loss of water</s_relation></s_node-2><sep/><s_text>Medical TX</s_text><s_node-2><s_text>Antidiarrheal</s_text><sep/><s_text>IV fluids (hypotonic, low sodium solution)</s_text><sep/><s_text>Orally fluids</s_text><sep/><s_text>Antiemetic</s_text><sep/><s_text>Rest</s_text><sep/><s_text>(Celluci, 2014)</s_text><s_relation>IV fluids (hypotonic, low sodium solution)<sep/>Antiemetic<sep/>Rest<sep/>Orally fluids<sep/>Antidiarrheal</s_relation></s_node-2><sep/><s_text>Hyponatremic</s_text><s_node-2><s_text>Primarily loss of electrolytes</s_text><sep/><s_text>(Celluci,2014)</s_text><s_relation>Primarily loss of electrolytes</s_relation></s_node-2><sep/><s_text>Nursing Management</s_text><s_node-2><s_text>Provide fluids</s_text><sep/><s_text>Monitoring fluid output(amount and color)</s_text><sep/><s_text>Administer an Antdiarrheal or Antiemetic</s_text><sep/><s_text>Monitoring signs(hypotension or tachycardia)</s_text><sep/><s_text>Record intake of fluid</s_text><sep/><s_text>Monitoring weight</s_text><sep/><s_text>Oral care and skin</s_text><sep/><s_text>(Damsick.2013)</s_text><s_relation>Monitoring weight<sep/>Provide fluids<sep/>Oral care and skin<sep/>Administer an Antdiarrheal or Antiemetic<sep/>Monitoring signs(hypotension or tachycardia)<sep/>Record intake of fluid<sep/>Monitoring fluid output(amount and color)</s_relation></s_node-2><sep/><s_text>Preventative Tx</s_text><s_node-2><s_text>50ml should be given after each vomit or diarrhea</s_text><sep/><s_text>Drink more water than usual</s_text><sep/><s_text>Nutritional intake</s_text><sep/><s_text>Rest</s_text><sep/><s_text>Watch signs of dehydration</s_text><sep/><s_text>(Alnami,2010)</s_text><s_relation>Rest<sep/>Drink more water than usual<sep/>50ml should be given after each vomit or diarrhea<sep/>Watch signs of dehydration<sep/>Nutritional intake</s_relation></s_node-2><sep/><s_text>Signs Symptons</s_text><s_node-2><s_text>Reduce urine</s_text><sep/><s_text>increased thirst</s_text><sep/><s_text>Dry mouth</s_text><sep/><s_text>Dry mocus membrane(eyes, skin)</s_text><sep/><s_text>Rapid heartbeat</s_text><sep/><s_text>Hypotension</s_text><sep/><s_text>(Damsick, 2013)</s_text><s_relation>Dry mocus membrane(eyes, skin)<sep/>Hypotension<sep/>Dry mouth<sep/>Rapid heartbeat<sep/>increased thirst<sep/>Reduce urine</s_relation></s_node-2><sep/><s_text>Exams / Testing</s_text><s_node-2><s_text>Blood Chemistries(Electrolytes, sodium and potassium)</s_text><s_node-3><s_text>Elemento flotante</s_text></s_node-3><sep/><s_text>Complete blood count (CBC)</s_text><sep/><s_text>Blood urea nitrogen (BUN)</s_text><sep/><s_text>ECG</s_text><sep/><s_text>(Alnami,,2010)</s_text><s_relation>Blood urea nitrogen (BUN)<sep/>Blood Chemistries(Electrolytes, sodium and potassium)<sep/>ECG<sep/>Complete blood count (CBC)</s_relation></s_node-2><sep/><s_text>(Damsick,2013)</s_text><s_relation>Excessive loss of fluid from the body occurs when the loss of fluid exceeds the fluid intake.</s_relation><sep/><s_text>Elemento flotante</s_text></s_node-1></s_node-0></s_map>


[User] <image>

[User] Extract the key points from this mind map and construct their hierarchical relationship.

[Assistant] <s_map><s_node-0><s_text>FILM THEORY</s_text><s_node-1><s_text>WHAT "IS" FILM? WHAT IS THE REALITY OF FILM ITSELF?</s_text><s_node-2><s_text>FILM AS LANGUAGE</s_text><s_node-3><s_text>BAZIN</s_text><s_node-4><s_text>Bazins account of film-as-language: 1) Language = genres such as American comedy or crime or the western, 2) Language = content - the plot rules that "pleased the masses and the elite," 3) Language = formal aspects of film - photographic styles, editing, the harmonization of image and sound, and treatment of dramatic and moral themes. (Bazin 45-46).</s_text></s_node-4><sep/><s_text>CHRISTIAN METZ (1931-1993)</s_text><s_node-4><s_text>WORKS CITED</s_text><s_node-5><s_text>Metz, Christian. "Film Language: Some points in the semiotics of cinema." Braudy, Leo. Film Criticism. 7th. Oxford: Oxford Press, 2009. 65-71.</s_text><sep/><s_text>Metz, Christian. "Problems of Denotation in the Fiction Film." Braudy, Leo. Film Theory Criticism. 6th. Oxford: Oxford Press, 2006. 72-86</s_text><sep/><s_text>Saussure, Ferdinand de. Course in General Linguistics. New York: Cornell University Press, 1986.</s_text></s_node-5><sep/><s_text>FILM AS "HIDDEN" IDEOLOGY</s_text><s_node-5><s_text>MINIMAL AGENCY - Individual writers, creators have a very limited influence on the film "code" (signifier/signified) instead it is an "arbitrary" set of systematic/discursive conditions that determine signs in language.</s_text></s_node-5><sep/><s_text>METZS ACCOUNT OF FILM-AS-LANGUAGE</s_text><s_node-5><s_text>Semiotic approach (Metz) how is the film text constructed in such a way that we understand it. There must be a syntax, rules that the text must follow (Eisenstein had this idea) like grammar. You just don’t string things together randomly… So rules for film as well and they must be operative wherever there’s a film text and so if we want to understand how film works then we should know how these work</s_text><s_node-6><s_text>SYNTAGMATIC SIGN SEQUENCING - Signs, or film shots, once formed, can then be chained together to create scenes or a film sequence adn thus a diegetic narrative based on the contrasting arrangement of shots. Is usually denotative in how it carries meaning (Metz 83)</s_text><s_node-7><s_text>DENOTIVE SIGN RELATIONSHIP: Although arbitrary, once the signified-signifier relation is fixed or fairly stable, unambiguous, clear, and tight, then for Metz this is the unambiguous link between a given shot-sound-image and the simple diegetic plot-narrative to which the shot refers. At this narrative level the meaning is denotive in that the literal unfolding of plot events is directly, literally, inscribed in the film sequence itself.</s_text><s_node-8><s_text>Metzs approach to studying the denotive structure of film is to do so within the syntagmatic context of the sequential chain of denotive signs that comprise a film and he is especially interested in outlining the logical space of all possible organizing structures at the denotive syntagmatic level and here he creates his flowchart that features eight important syntagmatic denotative categories which he thinks exhaust all possible organizing principles here. (Metz 77-83)</s_text></s_node-8><sep/><s_text>CONNATIVE SIGN RELATIONSHIP: symbolic, expressionist, and ambiguous. Here the conative “extends over the denotative meaning” to yield a value-added meaning that is tied to the syntagmatic sequence but also goes beyond it. (Metz 73)While even here the logical space of interpretations is circumscribed (not just any interpretation is fair game), the range of interpretations is looser and broader than that of the denotive or diegetic level.</s_text></s_node-7><sep/><s_text>METZS use of Ferdinand de Saussure: signs are composed of distinct, yet inseparable units which are always in relation - that of the signifier, signified, and sign</s_text><s_node-7><s_text>SIGN: describes the signified-signifier relationship serves as a reminder that the signifier-signified relationship is meaning-producing only for those who understand the relation by virtue of their already-understanding of other contrasting signs.</s_text><s_node-8><s_text>SIGNIFIER: a specific perceptual “sound-image” in film this would be whatever is seen and heard in a given shot</s_text><sep/><s_text>SIGNIFIED: what the “sound-image” refers or points to in film this would be the diegetic “concept” - the narrative or plot in the film.</s_text></s_node-8><sep/><s_text>FUNDAMENTAL "SEMIOTIC" UNIT OF FILM-MEANING: is the shot which loosely approximates, not words, but assertive statements in verbal languages. (Metz 75) Whereas a sentence can be "de-sentenced" into component words and grammatical substructures, a film shot cannot be "de-shot" into component sub-shot units. To attempt this would be simply to replace one shot with another shot.</s_text></s_node-7></s_node-6></s_node-5><sep/><s_text>REALITY OF FILM: AN HISTORICAL SIGN ESSENTIALIST? - Christian Metz takes a roughly ahistorical, synchronic, structural systematic approach. In his attempt to explain films intelligibility, understandability he appeals to a general theory, semiotics, that might explain how meaning happens in any information-meaning system whether it be verbal or filmic languages.</s_text><sep/><s_text>METZS METHODOLOGY - Metz is a strategic thinker who explicitly lays out his methodology for the reader - better first to address the feasible stuff (denotation) first before moving on to exponentially more difficult issues (connotation). Better to first lay out the space of logical possibilities for film sequencing (the syntagmatic)</s_text><sep/><s_text>C. Metz</s_text><sep/><s_text>IS OPPOSED TO:</s_text><s_node-5><s_text>Contrary to de Saussure, Metz thinks that film signs are fixed in a way that linguistic signs are not, due to the filmmaker’s intention, i.e., the filmmaker has consciously chosen to structure a given sign in a particular way, albeit within a codified cultural code Users of filmic language, the spectators, should be able to objectively read the narrative unambiguously because they too, have been educated, apprenticed, within this code. (Metz 84-85)</s_text></s_node-5><sep/><s_text>OTHER SCHOOLS/TOPICS/AREAS (also referenced in the following areas)</s_text><s_node-5><s_text>Lacanian mirror theory</s_text><sep/><s_text>Saussurean semiotics</s_text><sep/><s_text>REALITY OF FILM</s_text></s_node-5></s_node-4><sep/><s_text>SERGEI EISENSTEIN (1898-1948)</s_text><s_node-4><s_text>S. Eisenstein</s_text><sep/><s_text>WORKS CITED</s_text><s_node-5><s_text>Eisenstein, Sergei. "Beyond the Shot [The Cinematographic Principle and the Ideogram]." Cohen, Leo Braudy and Marshall. Film Theory Criticism. New York: Oxford University Press, 2009. 13-24.</s_text></s_node-5><sep/><s_text>FILM-AS-LANGUAGE (MONTAGE THEORY) - Focus is on construction and composition of films, i.e., shot sequences</s_text><s_node-5><s_text>MONTAGE: a sequence of shots ("cellular film units") which are simultaneously independent of, and yet in dialectical relationship to one another such that their colliding interplay yields a wholly new, “other dimensional” experience. Each shot (he designates these “embryos” or “cells”) is permeable, open, or internally connected to its surrounding shots in an infinite number of possible ways such that the result of this collision of shots with one another yields a wholly new filmic reality, a new meaning… the montage. The timing of these dialectical shot-collisions can vary shot collisions can double back, can repeat, can collide with neighboring but non-sequential shots. (Eisenstein 19-20)</s_text></s_node-5><sep/><s_text>IS OPPOSED TO:</s_text><s_node-5><s_text>VERTOVS "Cinema Verite" or Man with a movie camera in which the camera "reveals reality" as it is</s_text><sep/><s_text>PUDOVKINS THEORY OF MONTAGE/SHOTS</s_text><s_node-6><s_text>Individual shots do not create montage meaning by simply adding together in a linear manner (as thinks Pudovkin, i.e., his "bricks") a series of atomistic, independent montage elements (shots), arranged by some set of external principles</s_text></s_node-6></s_node-5><sep/><s_text>OTHER SCHOOLS/TOPICS/AREAS (also referenced in the following areas)</s_text><s_node-5><s_text>FILM PURPOSE (TELOS) - Revolutionary</s_text><sep/><s_text>Soviet Cinema/Russian Formalism</s_text></s_node-5></s_node-4><sep/><s_text>MULVEY</s_text><s_node-4><s_text>Analyzes how subject position, “I”, is produced in the mirror stage and per Lacans primitive fantasies it gets translated into a symbolic order that is constitutive of patriarchal culture and language and typified by the “law” law of literally structures that structure human relations the law of the symbolic, law of father, name of father so already a patriarchy in that, ie, naming practices (last name is inheritance</s_text></s_node-4></s_node-3><sep/><s_text>FILM TYPOLOGY - TYPES - GENRES</s_text><s_node-3><s_text>FILM AS NARRATIVE</s_text><sep/><s_text>FICTION FILM</s_text><s_node-4><s_text>Genres categorized by the emotions they trigger (horror, fantasy, romance, drama...)</s_text></s_node-4><sep/><s_text>NON-FICTION FILM</s_text><s_node-4><s_text>DOCUMENTARY FORM</s_text></s_node-4></s_node-3><sep/><s_text>FILM AS IDEOLOGICAL CONSTRUCTION</s_text><s_node-3><s_text>FEMINIST ACCOUNTS/ QUEER</s_text><s_relation>FILM CRITICISM (AESTHETIC EVALUATIONS) (Patriarchal critiuqe (form content))</s_relation><s_node-4><s_text>QUEER</s_text><s_node-5><s_text>Cinema is made of a constructed "dominant (heteronormative) code"</s_text><sep/><s_text>RUBY RICH?</s_text><s_node-6><s_text>Works: Reflections on a Queer Screen</s_text></s_node-6></s_node-5><sep/><s_text>MULVEY - Since films are completely embedded in a totalizing patriarchal ideological field, the "structural-reality of films" is composed of "patriarchal-ness", ie, as a FORM - ie, as a "male gaze"</s_text></s_node-4><sep/><s_text>JEAN-LOUIS BAUDRY (present)</s_text><s_node-4><s_text>IDEOLOGY</s_text><s_node-5><s_text>Baudry presumes that we live and breathe wtihin a totalized ideological world and that film is both constructed by this ideological regime and in turn reinforces, or constructs that ideological world (see film production for more on Baudry here)</s_text></s_node-5><sep/><s_text>SPECTATOR THEORY</s_text><s_node-5><s_text>We are reduced to just an all-perceiving subject and positioned a certain way by the structures of the film: montage, narrative, camera apparati so we have to identify with the camera and with a type of power, a type of seeing this position is an ideological construct and is complicit with the dominant ideological state in the world and is naturalized or hidden (made to “seem” natural, ie, continuity editing makes us absorbed in the film, drawn into the world of film, classical Hollywood style</s_text><s_node-6><s_text>TRANSCENDENTAL SUBJECT: The movement of the camera in a shot places the eye, our eye, at the vanishing point in front of the screen such that everything on the screen is intentionally extended outward in order to convene upon the very spot of our seeing, our gazing eyes. This projection outward by the film-screen constitutes us as a universal-seeing-subject even though we are literally, physically, not "in" the film per se.</s_text><sep/><s_text>The faculty of sight or seeing is no longer tied to a particular body - such as my body or your body - there can be just seeing without a body with the result that the eye is now free to be anywhere, to "be" at any time.</s_text></s_node-6></s_node-5><sep/><s_text>WORKS CITED</s_text><s_node-5><s_text>Baudry, Jean-Louis. "Ideological Effects of the Basic Cinematographic Apparatus." Braudy, Leo. Film Theory Criticism. 6th. Oxford: Oxford University Press, 2005.</s_text></s_node-5><sep/><s_text>JL Baudry</s_text><sep/><s_text>OTHER SCHOOLS/TOPICS/AREAS (also referenced in the following areas)</s_text><s_node-5><s_text>KNOWLEDGE/REALITY</s_text><sep/><s_text>FILM PRODUCTION/"CAUSES"</s_text></s_node-5></s_node-4><sep/><s_text>MARX: CRITICAL THEORY</s_text><s_node-4><s_text>WALTER BENJAMIN (1892-1940)</s_text><s_node-5><s_text>W. Benjamin</s_text><sep/><s_text>Works: Work of Art in the Age of Mechanical Reproduction</s_text><sep/><s_text>CRITICAL THEORY</s_text></s_node-5></s_node-4><sep/><s_text>MARX: SOVIET/RUSSIAN FORMALISTS</s_text><s_node-4><s_text>Eisenstein, Vertov - see language, purpose, etc</s_text></s_node-4><sep/><s_text>RACE/GLOBALIZATION</s_text><sep/><s_text>METZ</s_text><s_node-4><s_text>METZ - an ahistorical, synchronic, structural semiotic, systematic approach.</s_text></s_node-4></s_node-3><sep/><s_text>REALISM - ESSENTIALISM</s_text><s_node-3><s_text>FILM AS GIVEN MATERIAL/TECHNOLOGICAL PROPERTIES</s_text><s_node-4><s_text>SIEGFRIED KRACAUER (1889-1966)</s_text><s_node-5><s_text>WORKS CITED</s_text><s_node-6><s_text>Kracauer, Siegried. From Theory of Film: Basic Concepts in Film Theory Criticism, 7th ed., edited by Braudy, 2009, p. 147-158</s_text></s_node-6><sep/><s_text>REALITY OF FILM</s_text><s_node-6><s_text>PHYSICAL EXISTENCE ("Realistic tendency") - camera reality includes transient physical existence in all its aspects but especially "captured movement" and especially everyday, transient, unplanned life moments (Kracauer 153)</s_text><sep/><s_text>FORMATIVE TENDENCY film is able, like no other art form, to explore or "penetrate" realms of fantasy, history (Kracauer 154) or “staged illusion” such as Meliers "Trip to the Moon."</s_text></s_node-6><sep/><s_text>S. Kracauer</s_text><sep/><s_text>METHODOLOGY: Kracauer is interested primarily in basic properties: what are the basic elements of the technology, the medium within an historical context that includes development of modes of production.</s_text><sep/><s_text>IS OPPOSED TO:</s_text><s_node-6><s_text>German expressionist films that lay claim to "art-films" (i.e., Dr. Caligari)</s_text><sep/><s_text>Casually classifying films as "just another art form" - essential to films is their capacity to record reality and if film is to be considered "art" it must incorporate this reality-recording" aspect. (Kracauer 157)</s_text></s_node-6><sep/><s_text>OTHER SCHOOLS/TOPICS/AREAS (also referenced in the following areas)</s_text><s_node-6><s_text>CRITICAL THEORY</s_text><sep/><s_text>FILM KNOWLEDGE/EPISTEMOLOGY</s_text><sep/><s_text>FILM AS ART/AESTHETICS</s_text></s_node-6></s_node-5></s_node-4><sep/><s_text>FILM AS ESSENCE/IDEA/ETERNAL FORM</s_text><s_node-4><s_text>ANDRE BAZIN (1918-1958)</s_text><s_node-5><s_text>OTHER SCHOOLS/TOPICS/AREAS (Bazin is also referenced in the following sections)</s_text><s_node-6><s_text>Film as Language</s_text><sep/><s_text>Film as Knowledge/Epistemology</s_text><sep/><s_text>Auteur theory</s_text><sep/><s_text>Spectator theory</s_text><sep/><s_text>Cahiers du Cinema</s_text><sep/><s_text>Italian neorealism</s_text><sep/><s_text>Film Criticism</s_text></s_node-6><sep/><s_text>A. Bazin</s_text><sep/><s_text>BAZINS ESSENTIALIST ACCOUNT</s_text><s_node-6><s_text>Film as REVEALING OBJECTIVE REALITY</s_text><s_node-7><s_text>FILM = "TRACE" OF "ORIGINAL" REALITY due to: CO-PRESENCE VIA MACHINE OBJECTIVITY (the reproduction is the thing itself the image is the exact model b/c it shared time and space with its original object) + PROFILMIC OBJECT the object that appears before it gets captured + INDEXICAL QUALITY (the image is pointing back to the workers not to a painting of the workers) (Trumball Lecture, July 10, 2012, UCSC)</s_text></s_node-7><sep/><s_text>"Filmness" or the IDEAL/IDEA of cinema was "discovered" in the 17th century Baroque period: to duplicate or imitate nature so accurately, so realistically that a spectator would be unable to distinguish real nature from its artistic imitation. "a total and complete representation of reality… a perfect illusion of the outside world in sound, color, and relief." (Bazin 165)</s_text><s_node-7><s_text>Idea of cinema gradually materializes via historical/techno development in the arts (ie, camera) such as deep focus/wide shots/shot in depth</s_text></s_node-7><sep/><s_text>Filmic language is diachronic, connative (concerned with higher order ambiguous themes), and dialectical (film language continually refines itself as it returns to the idea of film as the perfect illusion of nature). (Bazin 41)</s_text><s_node-7><s_text>1920s - a self-conscious concern with film-as-image and thus expressionist and symbolic. Juxtaposed montage shots in order to evoke meanings that lie "beyond the film" or that add to the reality captured in film (Bazin 44).</s_text><sep/><s_text>1930s - a classical (Hollywood) view of film language as focused on structures of unity and harmony, increasing realism, and the resolution of any possible ambiguity. (Bazin 45-46)</s_text><sep/><s_text>1940s - a synthesis of 1930s concern for harmony and unity and increased realism along with a return to 1920s emphasis on creating suggestive, ambiguous meanings. Both ambiguity and realism are heightened (Welles, Renoir) by exploiting techniques such as the depth of field shot ("…the sequence of shots "in depth"… does not exclude the use of montage… he makes it an integral part of his "plastic." … depth of field is not just a stock in trade of the cameraman… it is a capital gain in the field of direction - a dialectical step forward in the history of film language.." (Bazin 49-50)). Depth of field invited the spectator to more actively engage in the film, to experience ambiguities within each shot or scene since there are now literally more layers of reality encountered, layers (foreground, background, etc) that are simultaneously spatially present within each shot - more reality is literally "packed in" to each shot. (Bazin 50)</s_text></s_node-7></s_node-6><sep/><s_text>BAZIN IS OPPOSED TO:</s_text><s_node-6><s_text>Soviet Cinema/Russian Formalism/Eisensteins montage theory</s_text><s_node-7><s_text>Bazin of Renoir: "He… uncovered the secrets of a film form that would permit everything to be said without chopping the world up into little fragments [montage], that would reveal the hidden meanings in people and things without disturbing the unity natural to them." (Bazin 52)</s_text><sep/><s_text>because... it aims to communicate a preconceived idea of an idea in eisenstein’s head… and the film tells you what to think VS. this other way, depth of field in which spectator is more active… and thus unintended meanings might emerge…</s_text><s_node-8><s_text>shot in depth… it’s an inherent good shot in depth introduces a certain degree of ambiguity that you have to pick up on and deal with (vs. Soviet cut and dry, no ambiguity…)</s_text></s_node-8></s_node-7></s_node-6><sep/><s_text>WORKS CITED</s_text><s_node-6><s_text>Bazin, Andre. "What is cinema? The ontology of the photographic image." Criticism, Film Theory . Leo Braudy. 7th. Oxford: Oxford Press, 2009. 159-163</s_text><sep/><s_text>Bazin, Andre. "What is cinema? The evolution of the language of cinema." Braudy, Leo. Film Theory Criticism. 7th. Oxford: Oxford Press, 2009. 41-53</s_text><sep/><s_text>Bazin, Andre. "What is cinema? The myth of total cinema." Braudy, Leo. Film Criticism. 7th. Oxford: Oxford Press, 2009. 163-166</s_text></s_node-6></s_node-5><sep/><s_text>JEAN EPSTEIN (1897-1953)</s_text><s_node-5><s_text>OTHER SCHOOLS/TOPICS/AREAS (Epstein is also referenced in the following sections)</s_text><s_node-6><s_text>KNOWLEDGE/EPISTEMOLOGY</s_text><sep/><s_text>HUMAN NATURE/PSYCHOLOGY/EMOTIONS</s_text><sep/><s_text>French Impressionist Cinema</s_text><sep/><s_text>German Expressionism</s_text></s_node-6><sep/><s_text>EPSTEIN IS OPPOSED TO:</s_text><s_node-6><s_text>The notion that film is primarily a storytelling (narrative) device</s_text></s_node-6><sep/><s_text>EPSTEINS ESSENTIALIST ACCOUNT - that "filmness" ("photogenie") is something that is eternal, unchanging objectively independent of any subject-position (Epstein 236)</s_text><s_node-6><s_text>Photogenie manifests in magnified close-ups in motion and in brief temporal durations, usually preceding resolution in a given scene (Epstein 236)</s_text><sep/><s_text>Photogenie somehow reveals the form of the beautiful itself, a form that lies beyond language and beyond material substrates, (Epstein 243) and in particular is what he terms the “moral character” of a thing, it’s unique personality perhaps that is brought to life, animistically, by the close-up. (Epstein 316)</s_text></s_node-6><sep/><s_text>J. Epstein</s_text><sep/><s_text>WORKS CITED</s_text><s_node-6><s_text>Epstein, Jean. "Magnification." Abel, Richard. French Film Theory and Criticism. Princeton: Princeton University Press, 1921. 235-241.</s_text><sep/><s_text>Epstein, Jean. "On Certain Characteristics of Photogenie." Abel, Richard. French Film Theory and Criticism: A Historical Anthology. Princeton: Princeton University Press, 1924. 314-318.</s_text><sep/><s_text>Epstein, Jean. "The Senses I (b)." Abel, Richard. French Film Theory and Criticism. Princeton: Princeton University Press, 1921. 241-246.</s_text></s_node-6></s_node-5></s_node-4></s_node-3><sep/><s_text>FILM PRODUCTION AS CONSTITUTIVE OF FILM</s_text><s_node-3><s_text>KEY FILM TECHNIQUES</s_text><s_node-4><s_text>Kino-eye/Cinema Verite (Vertov)</s_text><s_node-5><s_text>EXPERIMENT APPROACH: experiments with every possible technique double images, slow motion…</s_text></s_node-5><sep/><s_text>Close-up (Epstein)</s_text><sep/><s_text>Montage (Eisenstein)</s_text><sep/><s_text>Deep focus (Bazin, Welles)</s_text><sep/><s_text>Mise en Cine</s_text><s_node-5><s_text>mise en cine everything in front of the camera: composition, sets, props, actors, costumes, and lighting, positioning and movement of actors on the set (blocking) as overseen by the director (the "placer on scene."). Often this is how the director is said to impose meaning on the scene usually a SINGLE SHOT with a moving camera within shot Example:, “dr. caligari” the stage/set is composed like paintings that themselves express a feelling/etc and the actors walks in front of that…</s_text></s_node-5></s_node-4><sep/><s_text>FILM ARTIST/AUTEUR</s_text><s_node-4><s_text>PETER WOLLEN (1938-present)</s_text><s_node-5><s_text>P. Wollen</s_text><sep/><s_text>Husband of Laura Mulvey</s_text><sep/><s_text>AUTEUR THEORY</s_text><s_node-6><s_text>Purpose of auteur theory is to make possible different judgments between films… there’s a consistent signature… a criterion of judgment… is this the work of an auteur or not? Who is an auteur and hasn’t yet been recognized as such…</s_text><sep/><s_text>Film Author (Auteur/”author” theory) approach synonymous with Cahiers du Cinema the game is to discover and ID the unique fingerprint that exists across all the films… and this notion is behind the film texts… Emphasis on providing a criteria, yardstick for a kind of evaluation, for what is a good or bad film… leads to distinction between film criticism and film theory (so this director-focus allows for more film criticism…). Auteur is the director-ness the essence of the director that is found throughout all their works they are “always telling the same story”</s_text></s_node-6><sep/><s_text>Works: The Auteur Theory</s_text><sep/><s_text>OTHER SCHOOLS/TOPICS/AREAS (also referenced in the following areas)</s_text><s_node-6><s_text>STRUCTURALISM</s_text><sep/><s_text>SEMIOTICS</s_text></s_node-6></s_node-5><sep/><s_text>BAZIN</s_text><s_node-5><s_text>Bazin: films should represent personal "spiritual" vision of director</s_text></s_node-5></s_node-4><sep/><s_text>DIGITALIZATION</s_text><sep/><s_text>FILM MEDIUM - IMAGES, SOUND</s_text><sep/><s_text>BAUDRY</s_text><s_node-4><s_text>BAUDRY: Film is both constitutive of, and constituted by, "ideology":</s_text><s_node-5><s_text>the apparatus hides how it works it specifies a spot (the "vanishing point") in which you must occupy but hides this process.</s_text><sep/><s_text>the construction of the transcendental subject as something that is inescapably ideological and concealment as a necessary ideological effect within film.</s_text><sep/><s_text>To this end he emphasizes the material processes by which cinema is recorded, projected, and consumed as well as films ability to create unified meaning comparable to other meaning-creating, semiotic phenomena such as the unconscious or the practice of writing.</s_text></s_node-5></s_node-4></s_node-3></s_node-2><sep/><s_text>FILM TELOS (PURPOSE)</s_text><s_node-2><s_text>REVOLUTIONARY</s_text><s_node-3><s_text>Feminist revolutionary films</s_text><s_node-4><s_text>MULVEY: Counter-cinema film can serve as a weapon, a “political use of psychoanalysis”, “destruction of pleasure as a radical weapon”</s_text><sep/><s_text>CLAIRE JOHNSTON</s_text><s_node-5><s_text>WHAT SHOULD A COUNTER-CINEMA DO?</s_text><s_node-6><s_text>COUNTER-CINEMA (p. 214) should construct and manufacture new meanings… not enough just to complain about distorted presentation of women or representation we have to disrupt dominant myths…</s_text><s_node-7><s_text>Issue isn’t showing how sexist films are but in showing how signs work must “dismantle the master’s house from within.”</s_text></s_node-7><sep/><s_text>NATURALIZING MYTH: A PROBLEM - Myth transmits and transforms ideology of sexism and renders it invisible and therefore natural” makes a sexist regime seem like it’s the only way it can be.</s_text></s_node-6><sep/><s_text>Works: Womens Cinema as Counter-Cinema</s_text></s_node-5></s_node-4><sep/><s_text>Race theory films</s_text><sep/><s_text>VERTOV</s_text><s_node-4><s_text>VERTOV: film can help to create the "perfect man" via superior sensory technology of film machinery (superior to the body senses) - Humans can be "evolved" via film "from a bumbling citizen through the poetry of the machine to the perfect electric man.” (Vertov 69)</s_text></s_node-4><sep/><s_text>SOVIET CINEMA</s_text><s_node-4><s_text>SOVIETY CINEMA (Eisenstein, Pudovkin): Films should be transformative and effect a revolutionary consciousness… not about entertainment but pedagogy for the illiterate masses</s_text></s_node-4></s_node-3><sep/><s_text>CONSCIOUSNESS RAISING WITHIN DEMOCRATIC-LIBERAL SOCIETIES</s_text><s_node-3><s_text>Feminism-Liberal</s_text><sep/><s_text>QUEER: There are real histories that have been inscribed in certain ways and these should be included in analysis…</s_text></s_node-3></s_node-2><sep/><s_text>FILM VALUE (AXIOLOGY)</s_text><s_node-2><s_text>FILM ETHICS</s_text><s_node-3><s_text>Do spectators have moral duties or obligations in their film practices?</s_text><sep/><s_text>Do filmmakers have moral duties or obligations in their film practices?</s_text></s_node-3><sep/><s_text>FILM CRITICISM (AESTHETIC EVALUATIONS)</s_text><s_relation>FEMINIST ACCOUNTS/ QUEER (Patriarchal critiuqe (form content))</s_relation><s_node-3><s_text>FILM AS ART</s_text><s_node-4><s_text>ROGER SCRUTON: Film CANNOT POSSIBILY be considered an "art form"</s_text><sep/><s_text>DOMINIC MCIVER LOPES: Film CAN be considered art</s_text><sep/><s_text>In what way can film be considered "art" what are the necessary and sufficient conditions in order for a given film to count as "art" or even "quality art"?</s_text></s_node-4><sep/><s_text>QUEER</s_text><s_node-4><s_text>QUEER: What can film theory say about other non straight, non-white subject positions… axes of identity? Isn’t it possible that film theory hasn’t accounted for other types of viewing positions?</s_text></s_node-4><sep/><s_text>BAZIN</s_text><s_node-4><s_text>Should be limited to "Appreciative Criticism" (Bazin)</s_text></s_node-4><sep/><s_text>MOVIE CRITICS</s_text><s_node-4><s_text>What distinguishes "good" movie critics from mediocre critics? ie, the Rotten Tomatoes question.</s_text></s_node-4></s_node-3></s_node-2><sep/><s_text>SPECTATORSHIP HUMAN NATURE</s_text><s_node-2><s_text>MUNSTERBERG</s_text><s_node-3><s_text>MUNSTERBERG: film spectators should feel a harmony with the film by entering with their own impulses "into the will of every element" (every line, color, form, word, tone, note) these elements"carry intentionality…" (Munsterberg 416)</s_text></s_node-3><sep/><s_text>BAZIN</s_text><s_node-3><s_text>Bazin: Spectator-focused interpretation (spectator should be free to interpret)</s_text></s_node-3><sep/><s_text>BAUDRY</s_text><s_node-3><s_text>Baudry we are reduced to just an all-perceiving subject and positioned in a certain way by the structures of the film: montage, narrative, camera apparatus thus we identify with the camera and with a type of power, a type of seeing this position is an ideological construct and is complicit with the dominant ideological state in the world and is naturalized or hidden (made to “seem” natural… continuity editing makes us absorbed in the film, drawn into the world of film, classical Hollywood style are designed to do that more powerful because they don’t see what they are doing to us…)</s_text></s_node-3><sep/><s_text>METZ</s_text><s_node-3><s_text>METZ when he talks about identification, mirror stuff not talking about surveying people (perception studies) but is talking about an unconscious process that is at work in viewing… a position carved out, produced by the text that forces you to occupy… ways</s_text></s_node-3><sep/><s_text>MANTHIA DIAWARA</s_text><s_node-3><s_text>Works: Black Spectatorship</s_text></s_node-3><sep/><s_text>LAURA MULVEY (1941-present</s_text><s_node-3><s_text>MULVEYS THREE QUESTIONS</s_text><s_node-4><s_text>First, CONTENT: how are women portrayed in films?</s_text><sep/><s_text>Second, building off of metz, baudry, how are we positioned as spectators? What kind of subject position is carved out?</s_text><sep/><s_text>Third, what are the alternative possibilities for film? For producing film, say by feminists?</s_text></s_node-4><sep/><s_text>VOYEURISM CASTRATION: voyeurism is obviously pleasurable but when the woman appears it’s threatening because the threat of castration anxiety is unconsciously raised… free floating anxiety that gender isn’t as stable as we like to think this unconscious process is subject to repression (Mulvey identifies a fundamental unconscious identification process that carves out a subjection position of an identification of the camera ).</s_text><s_node-4><s_text>CASTRATION per Freud, children learn about sexual difference via presence or lack of a penis and this sets up women as passive bearers of no-penis and men as anxiety-ridden as they inescapably are confronted with the possibility of no-penis. this results in a psychic effect of... a symbolic patriarchy, women function as a kind of indicator of castration and nothing else</s_text></s_node-4><sep/><s_text>The Look the look in the cinema, a certain kind of vision look of the camera and the look of the spectator (similar to Metz’s ID of camera and ID with oneself)</s_text><s_node-4><s_text>EGO-IDEAL - Relay identification with characters in which we fantasize we are them as ego ideals…</s_text><sep/><s_text>STRATEGY OF COUNTER-CINEMA: Cannot get outside of patriarchy so we must attack it from within, ie, the pleasurable aspect to film she thinks makes us complicit and has real effects</s_text><sep/><s_text>Ways of looking are encoded in patriarchy hierarchical structure will affect content too of films even in films with strong feminist protagonists as women watchers you are complicit in your own oppression b/c you ENJOY watching it</s_text><sep/><s_text>we primarily identify with the male gaze presupposed by the film system and so any investigation we want to do, say how women are portrayed on screen, is secondary to the first question the type of looking… all the issues of how women are presented is conditioned by a form of looking inherent in films and we need to look at that first.</s_text><sep/><s_text>Scopophilia (p. 713) Freudian term in which we instinctually, sexually, enjoy “looking” at the Other has a narcissistic aspect in which the mirror stage is the exemplary here identification with the image not with the other person</s_text><s_node-5><s_text>Narcissism apart from mundane ways in which screen is like a mirror pleasurable reinforcing of idealized fantasy is what is going on</s_text><sep/><s_text>a pleasurable surplus which is relayed into pleasurable identification with some character… the way that the screen functions as a mirror is an idealized fantasy</s_text></s_node-5><sep/><s_text>Voyeurism a type of scopophilia in which the object of one’s gaze doesn’t know that one is being enjoyably watched. So with films (Metz too here), the finished product is made “to be watched” and structurally, semiotically, the structure is that the film is “made to be watched and simultaneously act as if it isn’t being watched.” there’s a psychic distance that is maintained</s_text></s_node-4><sep/><s_text>Women vs. Men in Cinema (p. 715)</s_text><s_node-4><s_text>PROBLEM the erotic has potential to be disruptive to narrative (ie, Blonde Venus gotta control Marlene Dietrich by relaying through cary grant…)</s_text><s_node-5><s_text>the image of woman is threatening there’s a couple different strategies (DEFENSE MECHANISMS) Hollywood employs in order to contain threat or to escape:</s_text><s_node-6><s_text>Sadistic voyeurism punishment that is enacted in which one takes pleasure in another’s pain so grace Kelly gets beaten up not enough that she’s an object of erotic pleasure now we enjoy her getting thrown around (Rear Window) and Stewart is looking but can’t do anything b/c of his leg injry</s_text><sep/><s_text>Fetishism Fetishistic Scopophilia for Freud fetishism something extrananeous gets built up to idealized perfection such that it is substituting for something else that has been repressed in the subconscious. So with women… we don’t have to confront castration aspect of women and instead we fetishize with…</s_text></s_node-6></s_node-5><sep/><s_text>Camera takes the POV of the male/active</s_text><sep/><s_text>WOMEN</s_text><s_node-5><s_text>WOMEN: Passive as image to be looked at object for consumption, for display, for male desire</s_text><sep/><s_text>an object with to-be-looked-at-ness with voyeuristic aspect no agency of her own (so Dietrich has no agency even though she’s being aggressively sexual in that she wants to have sex with every guy this is a male fantasy).</s_text></s_node-5><sep/><s_text>MEN</s_text><s_node-5><s_text>MEN: as bearer (actively) of the look a looker projects fantasy onto female figure and women are coded/constructed in order “to be looked at” passively.</s_text></s_node-5></s_node-4><sep/><s_text>FILM AS IDEOLOGY</s_text><s_node-4><s_text>She’s not focused on women in stereotyped roles but how viewing is coded as masculine and is not neutral..</s_text><s_node-5><s_text>So must be a primary identification with camera, with way of looking and then secondarily things get relayed into characters, etc. but this primary level is already masculine and concealed, coded in such that we don’t think about it</s_text></s_node-5></s_node-4><sep/><s_text>L. Mulvey</s_text><sep/><s_text>Works: Visual Pleasure Narrative Cinema</s_text><sep/><s_text>OTHER SCHOOLS/TOPICS/AREAS (also referenced in the following areas)</s_text><s_node-4><s_text>KNOWLEDGE/EPISTEMOLOGY</s_text><sep/><s_text>FILM PURPOSE - REVOLUTIONARY</s_text><sep/><s_text>FILM AS LANGUAGE</s_text><sep/><s_text>Psychoanalytic/Lacan</s_text><sep/><s_text>Feminism</s_text><sep/><s_text>REALITY OF FILM</s_text></s_node-4></s_node-3><sep/><s_text>TANIA MODLESKI (present)</s_text><s_node-3><s_text>T. Modleski</s_text><sep/><s_text>Not quite saying that Mulvey is wrong but maybe it’s not as totalizing as Mulvey thinks (that we have no choice you are positioned in the text)… - maybe when women watch cinema we have more agency than it seems.</s_text></s_node-3><sep/><s_text>HUMAN PSYCHOLOGY/EMOTION</s_text><s_node-3><s_text>HUGO MUNSTERBERG (1863-1916)</s_text><s_node-4><s_text>OTHER SCHOOLS/TOPICS/AREAS (also referenced in the following areas)</s_text><s_node-5><s_text>FILM KNOWLEDGE</s_text><sep/><s_text>SPECTATOR THEORY</s_text></s_node-5><sep/><s_text>WORKS CITED</s_text><s_node-5><s_text>Munsterberg, Hugo. From the Film: A Psychological Study: The Means of the Photoplay, in Film Theory and Criticism, 6th ed, Oxford, Oxford Press, 2004.</s_text></s_node-5><sep/><s_text>ONTOLOGY (REALITY) OF SILENT FILM (PHOTOPLAY)</s_text><s_node-5><s_text>a succession of instantaneous (static) impressions that causes phenomenological experience of continuous movement of events</s_text><sep/><s_text>Film has its own laws and conventions just different from the rest of the world. And then lets map these laws… must be rules/laws so that “we” can discuss, agree on what happened in the film…</s_text></s_node-5><sep/><s_text>MUNSTERBERG - PSYCHOLOGY OF FILM VIEWING: film has the potential to create a full range of emotion quite rapidly so analogous to MENTAL FACULTIES of attention, imagination, memory gives one multiple perspectives on an emotion not bound by linear time so juxtaposition of past and present</s_text><s_node-5><s_text>ATTENTION in the outer world we zero in and are selective in photoplay the closeup enlargens detail to exclusion of all else</s_text><sep/><s_text>MEMORY breaks into present events by bringing up pictures of the past photoplay uses frequent cutbacks</s_text><sep/><s_text>EMOTION we have shades, lots of different emotions: photoplay uses emotions to mold scenes such that these scenes become the embodiment of our feelings themselves…</s_text><sep/><s_text>IMAGINATION anticipates the future via fancies/dreams photoplay achieves this “more richly” than imagination could ever do…</s_text></s_node-5><sep/><s_text>IS OPPOSED TO:</s_text><s_node-5><s_text>The notion that only the theater/drama can have character development and that the silent photoplay can at best just show character "types" (Munsterberg 417)</s_text><sep/><s_text>the notion that cinema fails to offer any new insights about the human mind beyond what prior art-forms showed us</s_text></s_node-5><sep/><s_text>H. Munsterberg</s_text></s_node-4><sep/><s_text>EPSTEIN</s_text><s_node-4><s_text>Discovery of this previously unknown "photogenie-ness" is transformative for the viewer: the magnification of emotions, the creation of new intoxicating sight-based pleasures, and the introduction of a doubly abstracted "second sight" in which we see on film what the film itself has seen.</s_text></s_node-4><sep/><s_text>BAZIN</s_text><s_node-4><s_text>It is human nature to have some sort of basic, human psychological desire to freeze and reproduce the world mummification of time, of being, of persons…</s_text></s_node-4><sep/><s_text>FILM EMOTION</s_text></s_node-3></s_node-2><sep/><s_text>METHODOLOGY</s_text><s_node-2><s_text>Linguistics</s_text><s_node-3><s_text>Semiotics (de Saussure)</s_text><sep/><s_text>Examine how both form and content of films are structured by deep linguistic strucutres common to all (?) societies</s_text></s_node-3><sep/><s_text>Auteur</s_text><sep/><s_text>PHILOSOPHY: Continental</s_text><s_node-3><s_text>Race</s_text><s_node-4><s_text>Examine how both form and content of films are structured by dominant racial codes (ie, whiteness)</s_text></s_node-4><sep/><s_text>Critical Theory/Frankfurt</s_text><s_node-4><s_text>Examine how both form and content of films are structured by our present system of exchange and modes of production: capitalism</s_text></s_node-4><sep/><s_text>Queer</s_text><s_node-4><s_text>Examine how both form and content of films are structured by dominant sexual codings - ie, heteronormativity</s_text></s_node-4><sep/><s_text>Russian Formalism</s_text><sep/><s_text>Feminist</s_text><s_node-4><s_text>Examine how both form and content of films are structured by patriarchal ideology</s_text></s_node-4><sep/><s_text>Psychoanalytic/Lacan</s_text><s_node-4><s_text>Examine how both form and content of films are structured by psychological dynamics originating in childhood and continuing through adult stages</s_text></s_node-4></s_node-3><sep/><s_text>PHILOSOPHY: Analytic</s_text><s_node-3><s_text>Feminist</s_text><s_node-4><s_text>Examine how both form and content of films are structured by patriarchal ideology</s_text></s_node-4><sep/><s_text>1. Analysis of concepts, categories, types of reasoning that organize film practices and figuring out how the categories relate to one another</s_text><sep/><s_text>2. Resolution of apparent conceptual paradoxes, tensions, contradictions that occur in film practices</s_text><sep/><s_text>3. Discovery of metaphysical presuppositions entailments of conceptual frameworks of relevant practices</s_text></s_node-3></s_node-2><sep/><s_text>FILM KNOWLEDGE</s_text><s_node-2><s_text>EPSTEIN</s_text><s_node-3><s_text>EPSTEIN: the close-up shot, reveals some objectively independent reality, "photogenie," located in objects and events prior to their recording by the camera</s_text><s_node-4><s_text>EPSTEIN: the close-up lens allows us to see not only the irreducible distinctiveness of each object, the personality of each object but that we are thereby thrust, undistractedly into the vision of the film-poet, the director, “personality, the soul, the poetry of certain men invaded the cinema… matter is molded and set into relief by personality.” (Epstein 318)</s_text></s_node-4></s_node-3><sep/><s_text>BAZIN</s_text><s_node-3><s_text>Bazan (like Kracauer) thinks film gives us access to an unseen world</s_text></s_node-3><sep/><s_text>MUNSTERBERG</s_text><s_node-3><s_text>MUUNSTERBERGS MIND ANALOGY THESIS - Film mirrors how the mind works and is closer to the inner workings of mind vs. how world works… “freedom of mind has triumphed over the unalterable law of outer world” (Munsterberg 414)</s_text></s_node-3><sep/><s_text>DZIGA VERTOV (1896-1954)</s_text><s_node-3><s_text>WORKS CITED</s_text><s_node-4><s_text>Vertov, Dziga, We: Variant of a Manifesto, 1922</s_text></s_node-4><sep/><s_text>D. Vertov</s_text><sep/><s_text>KNOWLEDGE/EPISTEMOLOGY: "Man with a movie camera” (1929) “pure cinema" reveals things that have been overlooked specifically the Kino-eye (eye of the camera) is a better eye than the human eye as it can read the thoughts of another</s_text><s_node-4><s_text>CINEMA VERITE: kino pravda “truth cinema”… kino = cinema</s_text></s_node-4><sep/><s_text>IS OPPOSED TO:</s_text><s_node-4><s_text>Narrative and drama is worthless/bourgeoisie culture, etc.</s_text></s_node-4><sep/><s_text>OTHER SCHOOLS/TOPICS/AREAS (also referenced in the following areas)</s_text><s_node-4><s_text>FILM GENRE: Documentary</s_text><sep/><s_text>FILM PURPOSE: Revolutionary</s_text><sep/><s_text>FILM TECHNIQUES</s_text></s_node-4></s_node-3><sep/><s_text>KRACAUER</s_text><s_node-3><s_text>KRACAUER: Film reveals incalculable, fleeting movements such as crowd patterns</s_text></s_node-3><sep/><s_text>BAUDRY</s_text><s_node-3><s_text>BAUDRY: The camera reveals, "lays out" and reflects constructed reality (ideology) and perhaps it allows us to more precisely note the effects and nature of ideology, ie., how it constructs the transcendental subject how it naturalizes the individual thus hiding the effects of ideology</s_text></s_node-3><sep/><s_text>What sort of truths do film practices reveal?</s_text></s_node-2><sep/><s_text>KEY</s_text><s_node-2><s_text>PINK = Analytic categories (from "Philosophy of Film and Motion Pictures" - Blackwell Anthology, 2006)</s_text><sep/><s_text>ORANGE = Continental categories (?) (from Baudrys Film Theory Criticism, 2009)</s_text><sep/><s_text>GREY: My categories upon reflection on the whole thus far... (Anelli)</s_text><sep/><s_text>GREEN = Theorist covered in Film 120</s_text><sep/><s_text>YELLOW = Specific theoretical school</s_text></s_node-2><sep/><s_text>Film Theory Concept Map - Bill Anelli - for Film Theory Criticism, UCSC 2012</s_text></s_node-1></s_node-0></s_map>


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[Assistant] <s_map><s_node-0><s_text>Web Development  (PROJECT: Mobile Website)</s_text><s_node-1><s_text>Order</s_text><s_node-2><s_text>Tuesday - Direct Instruction, whole class activities, Meeting standards</s_text><sep/><s_text>Wednesday - Working on projects</s_text><sep/><s_text>Thursday - Working on projects</s_text><sep/><s_text>Friday - Group jigsaws shareout</s_text></s_node-2><sep/><s_text>Unit 2: Planning</s_text><s_node-2><s_text>STANDARDS</s_text><s_node-3><s_text>ISTE NETS S (2007) 3a plan strategies to guide inquiry</s_text><sep/><s_text>ISTE NETS S (2007) 3b locate, organize, analyze, evaluate, synthesize, and ethically use information from a variety of sources and media.</s_text><s_node-4><s_text>Set up a delicious account for each.</s_text></s_node-4><sep/><s_text>ISTE NETS S (2007) 3c evaluate and select information sources and digital tools based on the appropriateness to specific tasks.</s_text><sep/><s_text>ISTE NETS S (2007) 3d process data and report results.</s_text><s_node-4><s_text>install Xmind on the student computers</s_text></s_node-4><sep/><s_text>ISTE NETS S (2007) 4a.identify and define authentic problems and significant questions for investigation.</s_text><sep/><s_text>ISTE NETS S (2007) 4b.plan and manage activities to develop a solution or complete a project.</s_text><sep/><s_text>ISTE NETS S (2007) 4c.collect and analyze data to identify solutions and/or make informed decisions.</s_text><sep/><s_text>ISTE NETS S (2007) 4d.use multiple processes and diverse perspectives to explore alternative solutions.</s_text><sep/><s_text>CA State B1.4 Analyze media and develop strategies that target the specific needs and desires of the audience</s_text><sep/><s_text>CA State B2.3 Use multiple online search techniques and resources to acquire information</s_text><sep/><s_text>CA State B4.1 Use a logical and structured approach to isolate and identify problem sources and to resolve problems</s_text><sep/><s_text>CA State B4.3 Use technical writing and communication skills to work effectively with diverse groups of people.</s_text></s_node-3><sep/><s_text>Critical Questions</s_text><s_node-3><s_text>What do we need to build a website for mobile devices?</s_text><s_node-4><s_text>What tools can be used to build it?</s_text><sep/><s_text>What resources are necessary to build it?</s_text></s_node-4><sep/><s_text>What content should be on a schools mobile website?</s_text><s_node-4><s_text>How do we identify this information?</s_text><sep/><s_text>From where do we get the information?</s_text><s_node-5><s_text>Survey students, parents, friends- what do they think they should have on it?</s_text></s_node-5></s_node-4><sep/><s_text>What institutions or companies have good and bad examples of this kind of web site?</s_text><sep/><s_text>What are the roles/positions on a web site development team?</s_text></s_node-3><sep/><s_text>Learning Goals</s_text><s_node-3><s_text>Cognitive</s_text><s_node-4><s_text>SWBAT identify tools, resources, skills, and knowledge necessary to build a web site for mobile devices</s_text><sep/><s_text>SWBAT prioritize content and categories for what should be on the mobile web site</s_text></s_node-4><sep/><s_text>Affective</s_text><s_node-4><s_text>SWBAT share/verbalize why existing mobile websites are strong or weak</s_text><sep/><s_text>SWBAT organize themselves into groups and assign themselves job functions/positions</s_text><sep/><s_text>SWBAT communicate what their group learned with the rest of the class (verbally, visually)</s_text></s_node-4><sep/><s_text>Psychomotor</s_text><s_node-4><s_text>SWBAT type queries into search engines to learn about mobile web site development</s_text><sep/><s_text>SWBAT explain their findings to their classmates in front of the class</s_text></s_node-4></s_node-3><sep/><s_text>ASSESSMENTS</s_text><s_node-3><s_text>Weekly Participation Self-assessment</s_text><sep/><s_text>Oral and visual presentation</s_text><sep/><s_text>Group self-evaluation rubric</s_text><sep/><s_text>Peer-assessment group evaluation rubric</s_text><sep/><s_text>Performance task</s_text><s_node-4><s_text>Develop a list of criteria on which to score web sites for mobile devices</s_text></s_node-4></s_node-3><sep/><s_text>THEME INTEGRATION</s_text><s_node-3><s_text>Visual Performing Arts</s_text><sep/><s_text>Business Startups, Marketing</s_text></s_node-3><sep/><s_text>RESOURCES</s_text><s_node-3><s_text>delicious.com/tbrinkley keywords: mobile edition website development team roles</s_text></s_node-3><sep/><s_text>ALTERNATIVE</s_text><s_node-3><s_text>STANDARDS</s_text><s_node-4><s_text>B1.4 Analyze media and develop strategies that target the specific needs and desires of the audience.change the medium to satisfy the intended audience, e.g. Detailed report, vs. executive summary</s_text><sep/><s_text>B2.2 Understand the differences between various Internet protocols (e.g., http, ftp, mailto, and telnet).Internet protocols (e.g., http, ftp, mailto, telnet, SMTP, POP, IMAP, SSL).Vocab lists.</s_text><sep/><s_text>B4.4 Understand the principles of a customer-oriented service approach to users.customer-centric service attitude and behavior</s_text><sep/><s_text>B5.4 Know the tools needed to enable multimedia capabilities (e.g., still images, animated graphics, sound, and video) for Web sites.understanding of media plugins such as quicktime, flash, Silverlight, Shockwave, RealPlayer, etc.</s_text><sep/><s_text>B5.6 Know the tools needed to enable databases to collect data from Web site visitors (e.g., how to create forms and create a database of collected information and how to manage an online database) and the tools needed for general Web site management, including basic HTML coding, Web site statistical tracking, standard scripting languages, and advanced communications protocols.understands what tools use a database in the background, eg. Google forms, SurveyMonkey, and other forms, can understands how statistical tracking happens,</s_text><sep/><s_text>B5.7 Know the full process of Web hosting, including registering domain names, setting up Web hosting, setting up e-mail addresses, and recognizing privacy issues.experience with Web hosting, registering a domain name, adding email addresses, and mitigating privacy problems from arising</s_text><sep/><s_text>B5.8 Understand the hardware (server) and software required for Web hosting.understand server vs. client software (e.g. Ubuntu server, vs. Ubuntu client)</s_text><sep/><s_text>B5.9 Know the tools and process for registering Web sites with search directories and engines and for enabling e-commerce capabilities (e.g., sell products, create a shopping cart, and handle credit card transactions).can setup an ecommerce website, do Search Engine Optimization, and list their websites on search directoriesCafepress.com, Zazzle.com</s_text><sep/><s_text>ISTE NETS-S 2007: 3</s_text><s_node-5><s_text>a. plan strategies to guide inquiry.</s_text><sep/><s_text>b. locate, organize, analyze, evaluate, synthesize, and ethically use information from a variety of sources and media.</s_text><sep/><s_text>c. evaluate and select information sources and digital tools based on the appropriateness to specific tasks.</s_text><sep/><s_text>d. process data and report results.</s_text></s_node-5></s_node-4><sep/><s_text>Critical Questions</s_text><s_node-4><s_text>What factors determine whether or not you need to buy a domain?</s_text><sep/><s_text>Describe the different protocols you could use to connect to your server and for what purpose.</s_text><sep/><s_text>For what purposes would collecting information in a database be used?</s_text><sep/><s_text>Share three ways you can make your web site more customer friendly.</s_text></s_node-4><sep/><s_text>Learning Goals</s_text><s_node-4><s_text>The students will be able to</s_text><s_node-5><s_text>know if they need to buy their own domain name and how.</s_text><sep/><s_text>describe various protocols that they can use to connect to a web server</s_text><sep/><s_text>know why and how a database should be used</s_text><sep/><s_text>demonstrate three ways in which to make a website more customer friendly</s_text></s_node-5></s_node-4><sep/><s_text>ASSESSMENTS</s_text><s_node-4><s_text>Protocol Vocabulary Matching Quiz</s_text><sep/><s_text>Examples of student work</s_text><sep/><s_text>Verbal response</s_text><sep/><s_text>Performance of a task</s_text></s_node-4></s_node-3><sep/><s_text>Thursday, Sept. 30</s_text><sep/><s_text>Friday, Oct. 1</s_text><sep/><s_text>Tuesday, Oct. 5</s_text><s_node-3><s_text>Presentations Discussion</s_text><sep/><s_text>Higlighting Best Practices</s_text><sep/><s_text>VIDEO: A Shared Culture</s_text><sep/><s_text>Citing Sources: EasyBib</s_text><sep/><s_text>Assign Groups</s_text><s_node-4><s_text>What content should be on a schools mobile website?</s_text><s_node-5><s_text>How do we identify this information?</s_text><sep/><s_text>From where do we get the information?</s_text><s_node-6><s_text>Survey students, parents, friends- what do they think they should have on it?</s_text></s_node-6></s_node-5><sep/><s_text>identify _____________ necessary to build a web site for mobile devices</s_text><s_node-5><s_text>tools,</s_text><s_node-6><s_text>How do we learn how to use it?</s_text></s_node-6><sep/><s_text>resources,</s_text><s_node-6><s_text>List of free resources</s_text></s_node-6><sep/><s_text>skills,</s_text><s_node-6><s_text>What skills do we need and how do we get them?</s_text></s_node-6><sep/><s_text>knowledge</s_text><s_node-6><s_text>HTML</s_text><s_node-7><s_text>Where do we learn about this?</s_text></s_node-7></s_node-6></s_node-5><sep/><s_text>What institutions or companies have good and bad examples of a mobile web site?</s_text><sep/><s_text>What are the roles/positions on a web site development team?</s_text></s_node-4></s_node-3><sep/><s_text>Wednesday, Oct. 6</s_text><s_node-3><s_text>NO CLASS for 11th 12th Graders - CAHSEE TESTING</s_text><sep/><s_text>Group work</s_text></s_node-3><sep/><s_text>Thursday, Oct. 7</s_text><s_node-3><s_text>Presentations Discussion</s_text></s_node-3><sep/><s_text>Friday, Oct. 8</s_text><s_node-3><s_text>Presentations Discussion</s_text><sep/><s_text>Peer Assessment Rubric Self-Assessment Rubric</s_text></s_node-3><sep/><s_text>Tuesday, Oct. 12</s_text><sep/><s_text>Wednesday, Oct. 13</s_text><s_node-3><s_text>FIELD TRIP to VV Daily Press</s_text><sep/><s_text>Classtime Period 3</s_text></s_node-3><sep/><s_text>Thursday, Oct. 14</s_text><sep/><s_text>Friday, Oct. 15</s_text><s_node-3><s_text>Classtime Period 3</s_text><s_node-4><s_text>Responsibility Assembly</s_text></s_node-4></s_node-3><sep/><s_text>Tuesday, Oct. 19</s_text><sep/><s_text>Wednesday, Oct. 20</s_text><s_node-3><s_text>Classtime Period 3</s_text></s_node-3><sep/><s_text>Thursday, Oct. 21</s_text><sep/><s_text>Friday, Oct. 22</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>Social Etiquette Assembly</s_text></s_node-3></s_node-2><sep/><s_text>Unit 1: Authoring</s_text><s_node-2><s_text>STANDARDS</s_text><s_node-3><s_text>B1.1 Know the basic functions of media design software, such as keyframe animation, two-dimensional design, and three-dimensional design.media design softwareMake a room in Google Sketchup and make a move animation of it. Photoshop layer animation 3D</s_text><sep/><s_text>B1.2 Use appropriate software to design and produce professional-quality images, documents, and presentations.design/produce professional images, documents presentationsPicasa, Fireworks, Illustrator, PowerPoint, Photostory, InDesign, Google Docs, PDF</s_text><sep/><s_text>B1.3 Analyze the purpose of the media to determine the appropriate file format and level of compression.compress media appropriately</s_text><sep/><s_text>B1.5 Understand the development and management process of a show (e.g., television programs, musicals, and radio programs).development management of a show (e.g. tv, podcast, vodcast)Audacity, iMovie, Windows Movie Maker,</s_text><sep/><s_text>B1.6 Know the basic design elements necessary to produce effective print, video, audio, and Web-based media.design elements for print, video, audio, and Web</s_text><sep/><s_text>B1.7 Use technical skills (e.g., pagination, printing, folding, cutting, and binding) to produce publishable materials.technical skills for publishing books, photo journals, brochures e.g. pagination, printing, folding, cutting, and binding</s_text><sep/><s_text>B5.1 Understand the purpose, scope, and development of a Web site.why a website is important, its limitations, and how to develop one</s_text><sep/><s_text>B5.2 Know the relative features, strengths, and weaknesses of different authoring programs and cross-platform issues.has practiced authoring a website using various methods (e.g. Dreamweaver, Joomla, text editor) and understands how different browsers such as cell phone browsers will see it completely differently.Dreamweaver, Joomla, text editor</s_text><sep/><s_text>B5.3 Use industry-standard programs to produce a Web-based business operation or simulation.Developing and improving Excelsiors website social media</s_text><sep/><s_text>B5.5 Know strategies for optimizing Web design for fast delivery and retrieval.Ability to resize, compress, or shorten audio, video, graphics for fast load times on the Web</s_text><sep/><s_text>ISTE NETS-S 2007: 6</s_text><s_node-4><s_text>a. understand and use technology systems.</s_text><sep/><s_text>b. select and use applications effectively and productively.</s_text><sep/><s_text>c. troubleshoot systems and applications.</s_text><sep/><s_text>d. transfer current knowledge to learning of new technologies.</s_text></s_node-4><sep/><s_text>ISTE NETS-S 2007: 2</s_text><s_node-4><s_text>a. interact, collaborate, and publish with peers, experts, or others employing a variety of digital environments and media.</s_text><sep/><s_text>b. communicate information and ideas effectively to multiple audiences using a variety of media and formats.</s_text><sep/><s_text>c. develop cultural understanding and global awareness by engaging with learners of other cultures.</s_text><sep/><s_text>d. contribute to project teams to produce original works or solve problems.</s_text></s_node-4></s_node-3><sep/><s_text>Critical Questions</s_text><sep/><s_text>Learning Goals</s_text><sep/><s_text>RESOURCES</s_text><s_node-3><s_text>Adobe Digital Design u1_graphic_design_presentation</s_text><sep/><s_text>Exposure Initiative - Boston University</s_text><sep/><s_text>Online Photo Sharing in Plain English</s_text></s_node-3><sep/><s_text>ASSSESSMENTS</s_text><sep/><s_text>Tuesday, Sept. 7</s_text><sep/><s_text>Wednesday, Sept. 8</s_text><s_node-3><s_text>Classtime Period 3</s_text></s_node-3><sep/><s_text>Thursday, Sept. 9</s_text><sep/><s_text>Friday, Sept. 10</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>Initiative Assembly</s_text></s_node-3><sep/><s_text>Tuesday,</s_text><sep/><s_text>Wednesday, Sept. 15</s_text><s_node-3><s_text>Classtime Period 3</s_text></s_node-3><sep/><s_text>Thursday,</s_text><sep/><s_text>Friday, Sept. 17</s_text><s_node-3><s_text>Classtime Period 3</s_text></s_node-3><sep/><s_text>Tuesday,</s_text><sep/><s_text>Wednesday, Sept. 22</s_text><s_node-3><s_text>Classtime Period 3</s_text></s_node-3><sep/><s_text>Thursday,</s_text><sep/><s_text>Friday, Sept. 24</s_text><s_node-3><s_text>Classtime Period 3</s_text></s_node-3><sep/><s_text>Tuesday,</s_text><sep/><s_text>Wednesday, Sept. 29</s_text><s_node-3><s_text>Classtime Period 3</s_text></s_node-3><sep/><s_text>Thursday,</s_text></s_node-2><sep/><s_text>Unit 3</s_text><s_node-2><s_text>STANDARDS</s_text><s_node-3><s_text>ISTE-NETS-S 1a-d 1a. apply existing knowledge to generate new ideas, products, or processes. 1b. create original works as a means of personal or group expression. 1c. use models and simulations to explore complex systems and issues. 1d. identify trends and forecast possibilities.</s_text><sep/><s_text>CA- California K-12 Academic Content Standards • Subject : Career Technical Education (Grades 7 - 12)  • Industry Sector : Information Technology  • Strand : PATHWAY STANDARDS  • Career Pathway : B. Media Support and Services Pathway Students in the Media Support and Services Pathway prepare for careers that involve creating, designing, and producing multimedia products and services, including the development of digitally generated or computer-enhanced media used in business. Organizations of all types and sizes use digital media (e.g., CDs, DVDs, Web sites) to communicate with existing and potential customers. Media support experts can find jobs in organizations doing such work as creating e-business Web sites.  • Pathway Standard : B1.0 Students understand the effective use of tools for media production, development, and project management:    Indicator : B1.3 Analyze the purpose of the media to determine the appropriate file format and level of compression.    Indicator : B1.4 Analyze media and develop strategies that target the specific needs and desires of the audience.    Indicator : B1.5 Understand the development and management process of a show (e.g., television programs, musicals, radio programs).    Indicator : B1.6 Know the basic design elements necessary to produce effective print, video, audio, and Web-based media.</s_text><sep/><s_text>CA- California K-12 Academic Content Standards • Subject : Career Technical Education (Grades 7 - 12)  • Industry Sector : Information Technology  • Strand : PATHWAY STANDARDS  • Career Pathway : B. Media Support and Services Pathway Students in the Media Support and Services Pathway prepare for careers that involve creating, designing, and producing multimedia products and services, including the development of digitally generated or computer-enhanced media used in business. Organizations of all types and sizes use digital media (e.g., CDs, DVDs, Web sites) to communicate with existing and potential customers. Media support experts can find jobs in organizations doing such work as creating e-business Web sites.  • Pathway Standard : B3.0 Students understand the use of different types of peripherals and hardware appropriate to media and technology:    Indicator : B3.3 Use various types of audio and video equipment (e.g., digital cameras, recorders, scanners, Web cams, CD and DVD recorders), as appropriate, for different projects.    Indicator : B3.4 Understand the types of media storage and the use of appropriate file formats, and know how to convert data between media and file formats.    Indicator : B3.2 Know how to identify and integrate various types of peripherals and hardware to meet project requirements.    Indicator : B3.1 Understand the appropriate peripherals and hardware needed to achieve maximum productivity for various projects.</s_text></s_node-3><sep/><s_text>Learning Goals</s_text><s_node-3><s_text>Indicator : B1.3 Analyze the purpose of the media to determine the appropriate file format and level of compression.</s_text><sep/><s_text>Indicator : B1.4 Analyze media and develop strategies that target the specific needs and desires of the audience.</s_text><sep/><s_text>Indicator : B1.5 Understand the development and management process of a show (e.g., television programs, musicals, radio programs).</s_text><sep/><s_text>Indicator : B1.6 Know the basic design elements necessary to produce effective print, video, audio, and Web-based media.</s_text><sep/><s_text>1a. apply existing knowledge to generate new ideas, products, or processes.</s_text><sep/><s_text>1b. create original works as a means of personal or group expression.</s_text><sep/><s_text>1c. use models and simulations to explore complex systems and issues.</s_text><sep/><s_text>1d. identify trends and forecast possibilities.</s_text><sep/><s_text>Indicator : B3.3 Use various types of audio and video equipment (e.g., digital cameras, recorders, scanners, Web cams, CD and DVD recorders), as appropriate, for different projects.</s_text><sep/><s_text>Indicator : B3.4 Understand the types of media storage and the use of appropriate file formats, and know how to convert data between media and file formats.</s_text><sep/><s_text>Indicator : B3.2 Know how to identify and integrate various types of peripherals and hardware to meet project requirements.</s_text><sep/><s_text>Indicator : B3.1 Understand the appropriate peripherals and hardware needed to achieve maximum productivity for various projects.</s_text></s_node-3><sep/><s_text>RESOURCES</s_text><sep/><s_text>ASSESSMENTS</s_text><sep/><s_text>apply teamwork and sharing skills</s_text><s_node-3><s_text>STANDARDS</s_text></s_node-3><sep/><s_text>editing video</s_text><s_node-3><s_text>STANDARDS</s_text></s_node-3><sep/><s_text>Wednesday, Oct. 27</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Friday, Oct. 29</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Wednesday, Nov. 3</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Friday, Nov. 5</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Wednesday, Nov. 10</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Friday, Nov. 12</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Wednesday, Nov. 17</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3></s_node-2><sep/><s_text>Unit 4</s_text><s_node-2><s_text>STANDARDS</s_text><s_node-3><s_text>ISTE-NETS-S 6a-d a. understand and use technology systems. b. select and use applications effectively and productively. c. troubleshoot systems and applications. d. transfer current knowledge to learning of new technologies.</s_text><sep/><s_text>CA- California K-12 Academic Content Standards • Subject : Career Technical Education (Grades 7 - 12)  • Industry Sector : Information Technology  • Strand : PATHWAY STANDARDS  • Career Pathway : B. Media Support and Services Pathway Students in the Media Support and Services Pathway prepare for careers that involve creating, designing, and producing multimedia products and services, including the development of digitally generated or computer-enhanced media used in business. Organizations of all types and sizes use digital media (e.g., CDs, DVDs, Web sites) to communicate with existing and potential customers. Media support experts can find jobs in organizations doing such work as creating e-business Web sites.  • Pathway Standard : B5.0 Students understand and apply knowledge of effective Web page design and management:   Indicator : B5.4 Know the tools needed to enable multimedia capabilities (e.g., still images, animated graphics, sound, video) for Web sites.   Indicator : B5.5 Know strategies for optimizing Web design for fast delivery and retrieval.</s_text></s_node-3><sep/><s_text>Learning Objectives</s_text><s_node-3><s_text>6a. understand and use technology systems.</s_text><sep/><s_text>6b. select and use applications effectively and productively.</s_text><sep/><s_text>6c. troubleshoot systems and applications.</s_text><sep/><s_text>6d. transfer current knowledge to learning of new technologies.</s_text><sep/><s_text>Indicator : B5.4 Know the tools needed to enable multimedia capabilities (e.g., still images, animated graphics, sound, video) for Web sites.</s_text><sep/><s_text>Indicator : B5.5 Know strategies for optimizing Web design for fast delivery and retrieval.</s_text><sep/><s_text>embed content on a web page from other sources</s_text><sep/><s_text>create RSS feeds</s_text></s_node-3><sep/><s_text>RESOURCES</s_text><s_node-3><s_text>RSS in Plain English</s_text></s_node-3><sep/><s_text>ASSESSMENTS</s_text><sep/><s_text>Friday, Nov. 19</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>Communication Assembly</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Wednesday, Nov. 24</s_text><s_node-3><s_text>NO SCHOOL - FALL BREAK</s_text></s_node-3><sep/><s_text>Friday, Nov. 26</s_text><s_node-3><s_text>NO SCHOOL - FALL BREAK</s_text></s_node-3><sep/><s_text>Wednesday, Dec. 1</s_text><s_node-3><s_text>Classtime Period 3</s_text><s_node-4><s_text>Social Bookmarking in Plain English</s_text></s_node-4><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Friday, Dec. 3</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Wednesday, Dec. 8</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Friday, Dec. 10</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Wednesday, Dec. 15</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Friday, Dec. 17</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>Teamwork Assembly</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3></s_node-2><sep/><s_text>Unit 5</s_text><s_node-2><s_text>STANDARDS</s_text><s_node-3><s_text>ISTE-NETS-S 6a-d a. understand and use technology systems. b. select and use applications effectively and productively. c. troubleshoot systems and applications. d. transfer current knowledge to learning of new technologies.</s_text><sep/><s_text>CA- California K-12 Academic Content Standards • Subject : Career Technical Education (Grades 7 - 12)  • Industry Sector : Information Technology  • Strand : PATHWAY STANDARDS  • Career Pathway : A. Information Support and Services Pathway Students in the Information Support and Services Pathway prepare for careers that involve the implementation of computer services and software, provision of technical assistance, creation of technical documentation, and management of information systems. Mastery of information technologies is the foundation for all successful business organizations today. Persons with expertise in information support and services are in high demand for a variety of positions in business and industry. • Pathway Standard : D6.0 Students understand the importance of effective interfaces in the interaction between  humans and computer systems:    Indicator : D6.2 Use knowledge of cognitive, physical, and social interactions to create and design user-friendly computer practices and applications that meet the needs of the market.</s_text><sep/><s_text>CA- California K-12 Academic Content Standards • Subject : Career Technical Education (Grades 7 - 12)  • Industry Sector : Information Technology  • Strand : PATHWAY STANDARDS  • Career Pathway : B. Media Support and Services Pathway Students in the Media Support and Services Pathway prepare for careers that involve creating, designing, and producing multimedia products and services, including the development of digitally generated or computer-enhanced media used in business. Organizations of all types and sizes use digital media (e.g., CDs, DVDs, Web sites) to communicate with existing and potential customers. Media support experts can find jobs in organizations doing such work as creating e-business Web sites.  • Pathway Standard : B5.0 Students understand and apply knowledge of effective Web page design and management:    Indicator : B5.2 Know the relative features, strengths, and weaknesses of different authoring programs and cross-platform issues.   Indicator : B5.10 Differentiate among various versions of Internet programming languages.</s_text><sep/><s_text>ISTE-NETS-S 1a-d a. apply existing knowledge to generate new ideas, products, or processes. b. create original works as a means of personal or group expression. c. use models and simulations to explore complex systems and issues. d. identify trends and forecast possibilities.</s_text><sep/><s_text>CA- California K-12 Academic Content Standards • Subject : Career Technical Education (Grades 7 - 12)  • Industry Sector : Information Technology  • Strand : PATHWAY STANDARDS  • Career Pathway : B. Media Support and Services Pathway Students in the Media Support and Services Pathway prepare for careers that involve creating, designing, and producing multimedia products and services, including the development of digitally generated or computer-enhanced media used in business. Organizations of all types and sizes use digital media (e.g., CDs, DVDs, Web sites) to communicate with existing and potential customers. Media support experts can find jobs in organizations doing such work as creating e-business Web sites.  • Pathway Standard : B1.0 Students understand the effective use of tools for media production, development, and project management:    Indicator : B1.1 Know the basic functions of media design software, such as keyframe animation, two-dimensional design, and three-dimensional design.    Indicator : B1.2 Use appropriate software to design and produce professional-quality images, documents, and presentations.    Indicator : B1.3 Analyze the purpose of the media to determine the appropriate file format and level of compression.</s_text><sep/><s_text>CA- California K-12 Academic Content Standards • Subject : Career Technical Education (Grades 7 - 12)  • Industry Sector : Information Technology  • Strand : PATHWAY STANDARDS  • Career Pathway : B. Media Support and Services Pathway Students in the Media Support and Services Pathway prepare for careers that involve creating, designing, and producing multimedia products and services, including the development of digitally generated or computer-enhanced media used in business. Organizations of all types and sizes use digital media (e.g., CDs, DVDs, Web sites) to communicate with existing and potential customers. Media support experts can find jobs in organizations doing such work as creating e-business Web sites.  • Pathway Standard : B3.0 Students understand the use of different types of peripherals and hardware appropriate to media and technology:    Indicator : B3.3 Use various types of audio and video equipment (e.g., digital cameras, recorders, scanners, Web cams, CD and DVD recorders), as appropriate, for different projects.</s_text></s_node-3><sep/><s_text>Learning Objectives</s_text><s_node-3><s_text>write basic functional Javascript</s_text><sep/><s_text>editing photos</s_text><sep/><s_text>6a. understand and use technology systems.</s_text><sep/><s_text>6b. select and use applications effectively and productively.</s_text><sep/><s_text>6c. troubleshoot systems and applications.</s_text><sep/><s_text>6d. transfer current knowledge to learning of new technologies.</s_text><sep/><s_text>Indicator : D6.2 Use knowledge of cognitive, physical, and social interactions to create and design user-friendly computer practices and applications that meet the needs of the market.</s_text><sep/><s_text>Indicator : B5.2 Know the relative features, strengths, and weaknesses of different authoring programs and cross-platform issues.</s_text><sep/><s_text>Indicator : B5.10 Differentiate among various versions of Internet programming languages.</s_text><sep/><s_text>Indicator : B1.1 Know the basic functions of media design software, such as keyframe animation, two-dimensional design, and three-dimensional design.</s_text><sep/><s_text>Indicator : B1.2 Use appropriate software to design and produce professional-quality images, documents, and presentations.</s_text><sep/><s_text>Indicator : B1.3 Analyze the purpose of the media to determine the appropriate file format and level of compression.</s_text><sep/><s_text>Indicator : B3.3 Use various types of audio and video equipment (e.g., digital cameras, recorders, scanners, Web cams, CD and DVD recorders), as appropriate, for different projects.</s_text></s_node-3><sep/><s_text>RESOURCES</s_text><sep/><s_text>ASSESSMENTS</s_text><sep/><s_text>Wednesday, Dec. 22</s_text><s_node-3><s_text>NO SCHOOL - WINTER BREAK</s_text></s_node-3><sep/><s_text>Friday, Dec. 24</s_text><s_node-3><s_text>NO SCHOOL - WINTER BREAK</s_text></s_node-3><sep/><s_text>Wednesday, Dec. 29</s_text><s_node-3><s_text>NO SCHOOL - WINTER BREAK</s_text></s_node-3><sep/><s_text>Friday, Dec. 31</s_text><s_node-3><s_text>NO SCHOOL - WINTER BREAK</s_text></s_node-3><sep/><s_text>Wednesday, Jan. 5</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Friday, Jan. 7</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Wednesday, Jan. 12</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Friday, Jan 14</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Wednesday, Jan. 19</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Friday, Jan. 21</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3><sep/><s_text>Wednesday, Jan. 26</s_text><s_node-3><s_text>Classtime Period 3</s_text><sep/><s_text>LAB: Period 56</s_text></s_node-3></s_node-2></s_node-1></s_node-0></s_map>


[User] <image>

[User] Present the information from the mind map in the image in the form of tree-structured data.


[User] <image>

[User] Present the information from the mind map in the image in the form of tree-structured data.

[Assistant] <s_map><s_node-0><s_text>Effective Java 2</s_text><s_node-1><s_text>Creating and Destroying Objects</s_text><s_node-2><s_text>Consider static factory method instead of constructor</s_text><sep/><s_text>Consider a builder when faced with many constructor parameters</s_text><sep/><s_text>Enforce the singleton property with a private constructor or an enum type</s_text><sep/><s_text>Enforce noninstantiability with a private constructor</s_text><sep/><s_text>Avoid creating unnecessary objects</s_text><sep/><s_text>Eliminate obsolete object references</s_text><sep/><s_text>Avoid finalizers</s_text></s_node-2><sep/><s_text>Method Common to All Object</s_text><s_node-2><s_text>Obey the general contract when overriding equals</s_text><sep/><s_text>Always override hashCode when you override equals</s_text><sep/><s_text>Always override toString</s_text><sep/><s_text>Override clone judiciously</s_text><sep/><s_text>Consider implementing Comparable</s_text></s_node-2><sep/><s_text>Classes and Interfaces</s_text><s_node-2><s_text>Minimize the accessibility of the classes and members</s_text><sep/><s_text>In public classes, use public accessor method, not public fields</s_text><sep/><s_text>Minimize mutability</s_text><sep/><s_text>Favor composition over inheritance</s_text><sep/><s_text>Design or document inheritance or else prohibit it</s_text><sep/><s_text>Prefer interfaces to abstract classes</s_text><sep/><s_text>Use interfaces only to define types</s_text><sep/><s_text>Prefer class hierarchies to tagged classes</s_text><sep/><s_text>Use function objects to represent strategies</s_text><sep/><s_text>Favor static member classes over nonstatic</s_text></s_node-2><sep/><s_text>Generics</s_text><s_node-2><s_text>Dont use raw types in new code</s_text><sep/><s_text>Eliminate unchecked warnings</s_text><sep/><s_text>Prefer lists to arrays</s_text><sep/><s_text>Favor generic types</s_text><sep/><s_text>Favor generic methods</s_text><sep/><s_text>Use bounded wildcards to increase API flexibility</s_text><sep/><s_text>Consider typesafe heterogenous containers</s_text></s_node-2><sep/><s_text>Enums and Annotations</s_text><s_node-2><s_text>Use enum instead of int constants</s_text><sep/><s_text>Use instance fields instead of ordinals</s_text><sep/><s_text>Use EnumSet instead of bit fields</s_text><sep/><s_text>Use EnumMap instead of ordinal indexing</s_text><sep/><s_text>Emulate extensible enums with interfaces</s_text><sep/><s_text>Prefer annotations to naming pattern</s_text><sep/><s_text>Use marker interface to define types</s_text></s_node-2><sep/><s_text>Methods</s_text><s_node-2><s_text>Check parameters for validity</s_text><sep/><s_text>Make defensive copy when needed</s_text><sep/><s_text>Design method signatures carefully</s_text><sep/><s_text>Use overloading judiciously</s_text><sep/><s_text>Use varargs judiciously</s_text><sep/><s_text>Return empty arrays or collection, not null</s_text><sep/><s_text>Write doc comments for all exposed API elements</s_text></s_node-2><sep/><s_text>General Programming</s_text><s_node-2><s_text>Minimize the scope of local variables</s_text><sep/><s_text>Prefer for-each loops to traditional for loops</s_text><sep/><s_text>Know and use the libraries</s_text><sep/><s_text>Avoid use float and double if exact answers are required</s_text><sep/><s_text>Prefer primitive types to boxed primitives</s_text><sep/><s_text>Avoid strings when other types are more appropriate</s_text><sep/><s_text>Beware of the performance of string concatenation</s_text><sep/><s_text>Refer to objects by their interfaces</s_text><sep/><s_text>Prefer interfaces to reflection</s_text><sep/><s_text>Use native methods judiciously</s_text><sep/><s_text>Optimize judiciously</s_text><sep/><s_text>Adhere to generally accepted naming conventions</s_text></s_node-2><sep/><s_text>Exceptions</s_text><s_node-2><s_text>Use exceptions only for exceptional condition</s_text><sep/><s_text>Use checked exceptions for recoverable conditions and runtime exceptions for programming errors</s_text><sep/><s_text>Avoid unnecessary use of checked exceptions</s_text><sep/><s_text>Favor the use of standard exceptions</s_text><sep/><s_text>Throw exceptions appropriate to the abstraction</s_text><sep/><s_text>Document all the exception thrown by each method</s_text><sep/><s_text>Include failure-capture information in detail messages</s_text><sep/><s_text>Strive for failure atomicity</s_text><sep/><s_text>Dont ignore exceptions</s_text></s_node-2><sep/><s_text>Concurrency</s_text><s_node-2><s_text>Synchronize access to shared mutable data</s_text><sep/><s_text>Prefer executors and tasks to threads</s_text><sep/><s_text>Prefer concurrent utilities to wait and notify</s_text><sep/><s_text>Document thread safety</s_text><sep/><s_text>Use lazy initialization judiciously</s_text><sep/><s_text>Dont depend on thread scheduler</s_text><sep/><s_text>Avoid thread group</s_text></s_node-2><sep/><s_text>Serialization</s_text><s_node-2><s_text>Implement Serializable judiciously</s_text><sep/><s_text>Consider use a custom serialized form</s_text><sep/><s_text>Write readObject methods defensively</s_text><sep/><s_text>For instance control, prefer enum types to readResolve</s_text><sep/><s_text>Consider serialization proxies instead of serialized instances</s_text></s_node-2></s_node-1></s_node-0></s_map>


[User] <image>

[User] Extract the key points from this mind map and construct their hierarchical relationship.

[Assistant] <s_map><s_node-0><s_text>TORTS</s_text><s_node-1><s_text>STATE LAW CREATED</s_text><s_node-2><s_text>BY JUDGES (COMMON LAW)</s_text><sep/><s_text>BY LEGISLATURES (STATUTORY LAW)</s_text><sep/><s_text>RESTATEMENT OF TORTS (2ND)</s_text><sep/><s_text>RESTATEMENT OF TORTS (3RD)</s_text><sep/><s_text>INFLUENTIAL GUIDE</s_text><s_relation>RESTATEMENT OF TORTS (3RD)<sep/>RESTATEMENT OF TORTS (2ND)</s_relation><s_node-3><s_text>AMERICAN LAW INSTITUTE</s_text></s_node-3></s_node-2><sep/><s_text>FUNCTION</s_text><s_node-2><s_text>PROVIDE RELIEF FOR DAMAGES</s_text><sep/><s_text>DETER OTHERS FROM DOING SAME HARM</s_text><sep/><s_text>INJUNCTION</s_text><s_node-3><s_text>PREVENT CONTINUATION FURTHER TORTIOUS CONDUCT</s_text><sep/><s_text>MONEY DAMAGES</s_text><s_node-4><s_text>LOSS OF EARNINGS CAPACITY</s_text><sep/><s_text>PAIN SUFFERING</s_text><sep/><s_text>REASONABLE MEDICAL EXPENSES</s_text><sep/><s_text>PRESENT LOSSES</s_text><sep/><s_text>FUTURE LOSSES</s_text></s_node-4></s_node-3></s_node-2><sep/><s_text>AREAS</s_text><s_node-2><s_text>NUISANCE</s_text><sep/><s_text>DEFAMATION</s_text><sep/><s_text>INVASION OF PRIVACY</s_text><sep/><s_text>ECONOMIC TORTS</s_text></s_node-2><sep/><s_text>SPECIFIC TORTS</s_text><s_node-2><s_text>TRESPASS</s_text><sep/><s_text>ASSAULT</s_text><s_node-3><s_text>OVERT ATTEMPT</s_text><s_node-4><s_text>TO PHYSICALLY INJURE</s_text><sep/><s_text>CREATE A FEELING OF FEAR APPREHENSION</s_text><sep/><s_text>NO PHYSICAL CONTACT NEED TAKE PLACE</s_text></s_node-4></s_node-3><sep/><s_text>BATTERY</s_text><s_node-3><s_text>ACTUAL PHYSICAL CONTACT INJURY</s_text></s_node-3><sep/><s_text>NEGLIGENCE</s_text><sep/><s_text>PRODUCTS LIABILITY</s_text><sep/><s_text>INTENTIONAL INFLICTION OF EMOTIONAL DISTRESS</s_text><sep/><s_text>LIBEL</s_text><sep/><s_text>SLANDER</s_text><sep/><s_text>ASSAULT BATTERY</s_text><s_relation>ASSAULT<sep/>BATTERY</s_relation></s_node-2><sep/><s_text>CATEGORIES</s_text><s_node-2><s_text>INTENTIONAL</s_text><s_node-3><s_text>DUTY OF CARE</s_text><sep/><s_text>KNEW OR SHOULD HAVE KNOWN</s_text><s_node-4><s_text>ACTIONS</s_text><sep/><s_text>NON-ACTIONS</s_text></s_node-4><sep/><s_text>ATTEMPTS</s_text><sep/><s_text>INTENDS</s_text><sep/><s_text>TO DO HARM</s_text><s_relation>INTENDS<sep/>ATTEMPTS</s_relation><s_node-4><s_text>SHOULD HAVE FORESEEN PREVENTED BY EXERCISING PROPER CARE</s_text></s_node-4></s_node-3><sep/><s_text>NEGLIGENT</s_text><s_node-3><s_text>DUTY OF CARE</s_text><sep/><s_text>ACTIONS REASONABLY UNSAFE</s_text><sep/><s_text>ELEMENTS OF NEGLIGENCE</s_text><s_node-4><s_text>DUTY TO PROTECT FROM UNREASONABLE RISKS</s_text><sep/><s_text>FAILURE OF DUTY FAILURE TO EXERCICES RESASOABLE STANDARD OF CARE</s_text><sep/><s_text>CAUSAL CONNECTION BETWEEN BREACH OF DUTY OF CARE AND RESULTING INJURY</s_text><sep/><s_text>ACTUAL PHYSICAL OR MENTAL INJURY RESULTING FROM NEGLIGENCE</s_text><sep/><s_text>MUST PROVE</s_text><s_relation>DUTY TO PROTECT FROM UNREASONABLE RISKS<sep/>ACTUAL PHYSICAL OR MENTAL INJURY RESULTING FROM NEGLIGENCE<sep/>FAILURE OF DUTY FAILURE TO EXERCICES RESASOABLE STANDARD OF CARE<sep/>CAUSAL CONNECTION BETWEEN BREACH OF DUTY OF CARE AND RESULTING INJURY</s_relation></s_node-4></s_node-3><sep/><s_text>STRICT LIABILITY</s_text><s_node-3><s_text>ACTION CAUSES DAMAGE</s_text></s_node-3><sep/><s_text>ACTS ARE NEITHER EXPECTED NOR INTENDED</s_text><s_relation>NEGLIGENT</s_relation></s_node-2><sep/><s_text>DEFINED</s_text><s_node-2><s_text>ACTION RESULTING IN INJURY OR HARM</s_text><s_node-3><s_text>CIVIL WRONG</s_text><sep/><s_text>CRIMINAL WRONG</s_text></s_node-3><sep/><s_text>AN INJURY TO A PERSON FOR WHICH THE PERSON WHO CAUSED THE INJURY IS LEGALLY RESPONSIBLE</s_text><sep/><s_text>CIVIL WRONG WHICH CAN BE REDRESSED BY AWARDING DAMAGES</s_text><sep/><s_text>DEFINED</s_text></s_node-2></s_node-1></s_node-0></s_map>