Educational Psychology 14th Edition Anita Woolfolk - Solutions

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5. Watch some classic romantic comedies such as It Happened One Night, The Shop Around the Corner, When Harry Met Sally, and Sleepless in Seattle. Analyze how intimacy is built between the two principal characters. Pay special attention to the crisis of intimacy at the end of the 2nd act, and how
4. Write a comprehensive biography or backstory for every character in your script. Come up with all the details, such as their dates and locations of birth, their major subjects in school, hobbies, dreams…even when and where they lost their virginity. Creating these biographical details of your
3. Identify two films in which the hero’s backstory is revealed through flashbacks or dream sequences.
2. Identify three films in which the hero’s backstory is revealed through personal disclosure.
1. Using your knowledge of film, identify two films in which the hero’s backstory is revealed through biographical opening scenes and/or voiceover narration.
4. Are you writing an underdog hero or underdog band of heroes plot? If so, what is your hero’s motivation to succeed over his rival? Think of how this motivation can relate to more than just a general desire to win. How can you tie your hero’s motivation in with some personal identity issues?
3. Guilt is a powerful psychological force that can be used as a means of character motivation, or as an inner obstacle that a character must overcome. How can you infuse the force of guilt in the motivations or obstacles of one or more of your characters?
2. Part of the charm of heroic figures is their inclination toward iconoclasm and rebellion. If your hero has these qualities, how does his or her behavior reflect an inner sense of autonomy that audiences can relate to?
1. The issues of trust and mistrust may be represented within your script by your hero’s initial reluctance to commit himself to other people and their heroic causes. Identify a moment in your script when your hero may be required to make a “leap of faith.” How can this conflict be a
7. Identify three films in which there is an “underdog band of heroes.”
6. Identity five movie characters who could be labeled “underdog heroes.”
5. Identity three movie characters who could be labeled “misdirected heroes.”
4. Identity three movie characters who could be labeled “guilty heroes.”
3. Identity seven movie characters who could be labeled “rebel heroes.”
2. Identity three movie characters who could be labeled “gullible heroes.”
1. Using your knowledge of film, identity five movie characters who could be labeled “dubious heroes.”
4. Daydreams can provide insight into your character’s deepest fears and desires. They also can be used to reveal the character’s psychological and emotional state. Think of how you can use a daydream sequence to add depth to your character.
3. An element of surrealism is a common device in horror and fantasy movies, as they prime the audience to suspend disbelief. Whether you want to create this impression for the entire film or for just one scene, how can you use surrealism to build suspension of disbelief in your audience?
2. Does your script have a dream sequence? How can you create an atmosphere of “unreality” in this sequence?
1. Freud believed that at the core of every dream is an element of wish fulfillment. Though wish fulfillment may not be at the core of the film you are writing, is there an element of wish fulfillment addressed somewhere in your script?
8. Write a dream sequence for every character in your script. Fill these dreams with wishes, anxieties, and meaningful symbols. Creating dreams for your characters will give you insight into their unconscious minds and internal conflicts.
7. Identify and analyze dream, daydream, or fantasy sequences from five of your favorite films.
6. Using Freudian dreamwork, analyze the dreams in films such as The Wizard of Oz, Jacob’s Ladder, and Vanilla Sky.
5. Do you have a dark seducer or seductress figure in your script? How can you evoke the primal forces of the incubus or succubus within these figures, to make them seem more powerful and psychologically resonant?
4. Try to conceive of all the different ways in which the wishes of your hero can be fulfilled in your script.
3. Is there a deep fear or anxiety that your hero has addressed or extinguished within the course of your script?
2. Is there a plot twist in your script in which a character’s wish is fulfilled, leading to a moral or existential lesson?
1. The traditional happy ending is the most overt element of wish fulfillment in film structure. Does your script have a happy ending?Come up with several different happy endings to your script… each one being more and more indulgent.
4. Daydreams can provide insight into your character’s deepest fears and desires. They also can be used to reveal the character’s psychological and emotional state. Think of how you can use a daydream sequence to add depth to your character.
3. An element of surrealism is a common device in horror and fantasy movies, as they prime the audience to suspend disbelief. Whether you want to create this impression for the entire film or for just one scene, how can you use surrealism to build suspension of disbelief in your audience?
2. Does your script have a dream sequence? How can you create an atmosphere of “unreality” in this sequence?
1. Freud believed that at the core of every dream is an element of wish fulfillment. Though wish fulfillment may not be at the core of the film you are writing, is there an element of wish fulfillment addressed somewhere in your script?
8. Write a dream sequence for every character in your script. Fill these dreams with wishes, anxieties, and meaningful symbols. Creating dreams for your characters will give you insight into their unconscious minds and internal conflicts.
7. Identify and analyze dream, daydream, or fantasy sequences from five of your favorite films.
6. Using Freudian dreamwork, analyze the dreams in films such as The Wizard of Oz, Jacob’s Ladder, and Vanilla Sky.
5. Do you have a dark seducer or seductress figure in your script? How can you evoke the primal forces of the incubus or succubus within these figures, to make them seem more powerful and psychologically resonant?
4. Try to conceive of all the different ways in which the wishes of your hero can be fulfilled in your script.
3. Is there a deep fear or anxiety that your hero has addressed or extinguished within the course of your script?
2. Is there a plot twist in your script in which a character’s wish is fulfilled, leading to a moral or existential lesson?
1. The traditional happy ending is the most overt element of wish fulfillment in film structure. Does your script have a happy ending?Come up with several different happy endings to your script… each one being more and more indulgent.
4. Comic relief is an essential part of any movie. Do you have at least one instance in your script that is designed to elicit a laugh?
3. Slips are most realistic when they express emotion rather than just information. If you are using a Freudian slip in your script, think of how you can write the slip as a form of emotional release, instead of the tired old “Oops, I can’t believe I just told you my big, bad secret!” set up.
2. Identification typically offers character motivation through an external mentor figure, while sublimation typically offers character motivation through internal conflict of libido drives. How can you create psychological depth in your characters’ motivations by juxtaposing the contrary forces
1. Both repression and denial are marked by a character’s general obliviousness to his own desires, fears, and neuroses. Consider how you can use the attribute of obliviousness as either a character strength or character weakness in your hero.
6. Analyze the defense mechanisms displayed by characters in movies such as Ordinary People, The Big Chill, and American Beauty.
5. Identify three movie characters who display the defense mechanism of isolation.
4. Identify three movie characters who display the defense mechanism of rationalization.
3. Identify three movie characters who display the defense mechanism of displacement.
2. Identify three movie characters who display the defense mechanism of denial.
1. Using your knowledge of film, identify three movie characters who display the defense mechanism of regression.
5. Issues of intimacy, love, and sex are ubiquitous in movies. You may be finding it difficult to address these issues without resorting to cliches and overused devices. Try analyzing the romantic relationship in your script in terms of the Oedipal themes of possessiveness, rivalry, and forbidden
4. In its broadest interpretation, “penis envy” represents any fear of dominating power or authority, as well as issues of disenfranchisement and empowerment. Female heroes in films typically deal with these issues. How can your heroine resolve the issue of penis envy in a way that embodies her
3. The “weapon” is any material aid that assists the hero on his or her quest.Does your hero have a “weapon?”
2. The opposing psychosexual forces also are an excellent source of internal conflict. Heroes often deal with the conflicting drives of destructiveness and non-violence, passion and abstinence, or rebellion and obedience. How can you infuse your hero with an internal conflict related to retention
1. Internal conflict can be depicted visually through an oral fixation. Think of how your character can portray internal conflict by smoking, drinking, eating, or other “oral” behaviors.
8. Come up with five different weapons or forms of material aid that have never been used before.
7. Now imagine how your hero might use some of these weapons in your script.
6. Brainstorm all the different kinds of weapons or material aids that characters have used in your favorite movies.
5. The hero’s weapon is typically a phallic symbol, a psychological representation of the hero’s identity and power. How can you structure your hero’s weapon so that it pertains to or reveals your hero’s identity?
4. If you have only one comic character, consider the effect of giving him a partner or foil. What could this element add to your script?
3. The comically mismatched pair of characters is a basic formula for comedy. Do you have a comic dyad in your script? Whether the twosome are lead characters (i.e., Nick and Nora in The Thin Man movies), or comic relief (i.e., Jay and Silent Bob in Clerks and Mallrats), how can you use the
2. Oral obstacles in heroes are personal flaws that are related to physical, psychological, or emotional neediness. Create an oral obstacle that your hero must overcome, but stay away from hackneyed or overused obstacles, such as alcoholism or drug use.
1. Come up with two or three “oral” behaviors that haven’t been used before.
5. Is your hero motivated, at least in part, by guilt?
4. Does your hero have a mentor or role model? If not, consider writing one in. The role model figure can be extremely resonant, even if his or her part is nominal.
3. Is your hero’s primary psychological conflict different from his external goal?
2. Does your villain get his comeuppance in the end? If so, is the comeuppance equal to his crimes?
1. If your script has a villain, are his motivations clear?
10. Analyze the neurotic conflict of classic film characters such as George Bailey (James Stewart) in It’s a Wonderful Life (1946), Matt Garth (Montgomery Clift) in Red River (1948), and Judah Rosenthal (Martin Landau) in Crimes and Misdemeanors (1989).
9. Is your hero a classical hero, an antihero, a fallen hero…? You do not have to limit your hero to any one of these types, but envisioning him or her as one or the other may help in delineating your hero’s motivations.
8. Guilt is a basic element of internal conflict. Think of what your hero could feel guilty about, and consider how this guilt could be incorporated as a motivating factor for character development.
7. Identify the mentor figure in five of your favorite films, and explain how this character epitomizes the psychological function of the superego.
6. Identify the hero character in five of your favorite films, and explain how this character epitomizes the psychological function of the ego.
5. Identify the villain character in five of your favorite films, and explain how this character epitomizes the psychological function of the id.
4. Describe your hero’s primary conflict in two or three sentences. If you cannot do this, then you probably do not have a solid understanding of this character’s motivations. Though the hero’s internal neurotic conflict may address complex psychological issues, the conflict should be crystal
3. Devise three forms of comeuppance that are new, exciting, or inventive.
2. How can you incorporate the notion of just retribution in your villain’s comeuppance?
1. The best villains are driven by their own primal desires or libido.How can you spice up your villain by addressing the sex and aggression drives? Remember, the villain can never be too despicable.
6. Does your script contain a parent/child relationship or love relationship? If so, could conflict be added to this relationship by including the theme of possessiveness?
5. Are you writing a script or scene that should be scary? If so, can you employ the “castration anxiety” themes of powerlessness or role reversal to make the menacing figure more terrifying?
4. If the hero in your script does have a rival, could this rival be developed to a higher degree? Consider tying the hero’s rival in with the primary love interest, and how this may increase tension in your plot.
3. Does the hero in your script have a rival? If not, consider how a rival may add conflict or tension to your plot.
2. If there is a love interest in your script, is there a conflict between the characters? Could this conflict be intensified by adding Oedipal themes such as the “forbidden fruit” factor, a rivalry, or an obstacle that must be overcome?
1. Is there a love interest in your script? If not, do you think adding a love interest would add drama to your story?
4. Identify five films in which the hero must overcome powerlessness in order to succeed.
3. Now identify five films in which the Electra complex is symbolically represented.
2. Identify at least five more films in which a major aspect of the Oedipal complex is symbolically represented.
1. Analyze the Oedipal themes in the following classic films: Mildred Pierce (1945), White Heat (1949), Psycho (1960), The Graduate(1967), and Chinatown (1974).
6. Grades, a form of extrinsic reinforcement, can be a source of celebration for Miss Wren’s students or a punishment. To make the most of grades and increase her students’ chances for success, what should Miss Wren keep in mind when grading her students?
5. In addition to listing the criteria for what constitutes quality work and having students self-assess, list some additional guidelines for Miss Wren to remember when developing a rubric.
4. Which one of the following types of assessments would be most beneficial for assessing a student’s ability to debate?A. Formative assessment B. Portfolio assessment C. Summative assessment D. Performance assessment
3. Maria had proven to be a very good student in Mr. Rhodes’s class despite having just moved to the United States from another country. So it came as a surprise when Maria performed poorly on her tests. When Mr. Rhodes consulted another teacher who also had Maria as a student, he learned that
2. The yearly standardized test in Mr. Taylor’s class is given in the spring. By the summer, Mr. Taylor’s students received their scores in the mail. Many of the parents were upset and contacted Mr.Taylor regarding their children’s “low scores.” “Mr. Taylor, I don’t understand how my
1. Which of the following assessment methods provides feedback that is nonevaluative, occurs before or during instruction, and guides teachers in planning and improving instruction?A. Summative B. Criterion referenced C. Formative D. Norm referenced
2. Notice if you are having trouble with a particular kind of item; adjust your study approach next time to handle this type of item better.
1. Pay attention when the teacher reviews the answers. You can learn from your mistakes, and the same question may reappear in a later test.
3. Unless the instructor requires complete sentences, consider listing points, arguments, and so on by number in your answer. It will help you organize your thoughts and concentrate on the important aspects of the answer.
2. Don’t save your best ideas till last. Give them early in the answer.
1. Avoid flowery introductions. Answer the question in the first sentence and then elaborate.
2. If you are using a machine-scored answer sheet, check occasionally to be sure the number of the question you are answering corresponds to the number of the answer on the sheet.

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Educational Psychology 14th Edition Anita Woolfolk - Solutions

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