English language arts in sixth grade places a focus on learning how to interpret texts presented in different mediums. Several of the common core standards encourage an integration of knowledge across multiple fields. Therefore, using film as a "text" falls in line perfectly with sixth grade standards.
NC common Core Standards- 6th Grade English Language Arts
- CCSS.ELA-Literacy.RL.6.9 Compare and contrast texts in different forms or genres (e.g., stories and poems; historical novels and fantasy stories) in terms of their approaches to similar themes and topics.
- CCSS.ELA-Literacy.SL.6.2 Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.
Working With key scenes
Scene 1: Transformation and Reaction
Timecode (24:00-25:40) This is the moment that both Pacha and Kuzco realize that the Emperor has been transformed into a llama. Kuzco is first in disbelief, then quickly jumps to the conclusion that Pacha must be responsible. However, he then decides that Pacha would be incapable of such a task.
Timecode (24:00-25:40) This is the moment that both Pacha and Kuzco realize that the Emperor has been transformed into a llama. Kuzco is first in disbelief, then quickly jumps to the conclusion that Pacha must be responsible. However, he then decides that Pacha would be incapable of such a task.
Key Dialogue:
Pacha: Demon llama!
Kuzco: Demon llama?! Where?
Pacha: Ok demon llama, take it easy I mean you no harm!
Kuzco: What are you talking about? Wait, I know you! You're that whiny peasant!
Pacha: Emperor kuzco?!
Kuzco: Yeah, who'd you think you were talking to?
Pacha: Uh, how did... uh..you don't look like the Emperor.
Kuzco: What do you mean I don't look like the Emperor?
Pacha: Do like this: *wiggles fingers*
Kuzco: *wiggles hoof* AAAAHHHHH!!!!
Teacher Notes and Discussion:
The Emperor's New Groove is loosely based on The Emperor's New Clothes by Hans Christian Anderson. Your students should read this story in conjunction with viewing this scene in order to compare the two. Instruct your students to pay special attention to the section of the story where the townspeople reveal his true condition.
So off went the Emperor in procession under his splendid canopy. Everyone in the streets and the windows said, "Oh, how fine are the Emperor's new clothes! Don't they fit him to perfection? And see his long train!" Nobody would confess that he couldn't see anything, for that would prove him either unfit for his position, or a fool. No costume the Emperor had worn before was ever such a complete success.
"But he hasn't got anything on," a little child said.
"Did you ever hear such innocent prattle?" said its father. And one person whispered to another what the child had said, "He hasn't anything on. A child says he hasn't anything on."
"But he hasn't got anything on!" the whole town cried out at last. (Anderson)
Connecting Activity:
Example: (courtesy of creazaeducation.com)
Pacha: Demon llama!
Kuzco: Demon llama?! Where?
Pacha: Ok demon llama, take it easy I mean you no harm!
Kuzco: What are you talking about? Wait, I know you! You're that whiny peasant!
Pacha: Emperor kuzco?!
Kuzco: Yeah, who'd you think you were talking to?
Pacha: Uh, how did... uh..you don't look like the Emperor.
Kuzco: What do you mean I don't look like the Emperor?
Pacha: Do like this: *wiggles fingers*
Kuzco: *wiggles hoof* AAAAHHHHH!!!!
Teacher Notes and Discussion:
The Emperor's New Groove is loosely based on The Emperor's New Clothes by Hans Christian Anderson. Your students should read this story in conjunction with viewing this scene in order to compare the two. Instruct your students to pay special attention to the section of the story where the townspeople reveal his true condition.
So off went the Emperor in procession under his splendid canopy. Everyone in the streets and the windows said, "Oh, how fine are the Emperor's new clothes! Don't they fit him to perfection? And see his long train!" Nobody would confess that he couldn't see anything, for that would prove him either unfit for his position, or a fool. No costume the Emperor had worn before was ever such a complete success.
"But he hasn't got anything on," a little child said.
"Did you ever hear such innocent prattle?" said its father. And one person whispered to another what the child had said, "He hasn't anything on. A child says he hasn't anything on."
"But he hasn't got anything on!" the whole town cried out at last. (Anderson)
- How do the two scenes vary?
- How do the supporting characters respond to the transformations? Would Pacha have responded differently if he immediately knew the llama was the Emperor?
- Are there any similarities between the two Emperors? What do these similarities tell you about their personal character?
- You can have students make a Venn diagram in order to organize their thoughts
Connecting Activity:
- Have your students recreate their own favortie fairy tale or classic story using the digital cartoon maker Creaza. (http://www.creazaeducation.com/)
- Encourage your students to make changes to the story if they feel they will improve the cartoon. Have them keep track of elements they keep the same and what they change.
- Share the cartoons with the rest of the class. Ask the students to discuss how they feel watching the cartoons verus reading the traditional texts.
Example: (courtesy of creazaeducation.com)
Scene 2: Breaking the Fourth Wall
Timecode: (23:25- 24:00) The Emperor's New Groove is somewhat well-known for constantly "breaking the fourth wall." The phrase means that a character in the movie directly addresses the audience, breaking the boundaries that are normally associated with film or television. One such instance in the film is when Kuzco is narrating and interrupts the story to monologue and bring the focus back to himself.
Timecode: (23:25- 24:00) The Emperor's New Groove is somewhat well-known for constantly "breaking the fourth wall." The phrase means that a character in the movie directly addresses the audience, breaking the boundaries that are normally associated with film or television. One such instance in the film is when Kuzco is narrating and interrupts the story to monologue and bring the focus back to himself.
Key Dialogue:
*sad music playing softly; wide-angle shot of Pacha at his home*
*sudden pause, Kuzco appears outside the scene with a red marker*
Kuzco: "Eh, hehe, Hi. Excuse me, two seconds here. Um, I'm the one in the cart remember?"
*circles cart with red marker*
Kuzco: "This story is about me, not him."
*makes an X over Pacha*
Kuzco: "Got it? Okay, we're going to move ahead, sorry to slow you down."
*completely marks out Pacha*
Teacher Notes and Activities:
The scene is all about the fourth wall being broken. Make sure students realize that this is not a common feature seen in many movies. Lead discussion with these questions:
- How does Kuzco's interruption affect the story?
- Why would the film's creators want to break the fourth wall? Does it add or distract from the film? Why/how?
- Is there a fourth wall in traditional texts, such as essays, poems, and novels?
Connecting Activity:
Have your students write a text, where they break the fourth wall. This could be in the form of a poem, character monologue, short essay, etc. An example of a writer breaking the fourth wall can be found in Jane Eyre by Charlotte Bronte:
"Reader, I married him. A quiet wedding we had: he and I, the parson and clerk, were alone present. When we got back from church, I went into the kitchen of the manor-house, where Mary was cooking the dinner and John cleaning the knives," (Chapter 38, Bronte).
After writing their stories, have them share with the class and answer the following questions:
- Was it difficult to break the fourth wall when writing your assignment? Why/how?
- Did you like the finished result? Would your piece be better or worse without breaking the fourth wall?
- How was having the fourth wall broken in the movie different from breaking the fourth wall through writing?