The Biggest Little Farm
The Biggest Little FarmVIEWING GUIDEABOUTTHE FILM »teachingthe filmDISCUSSION &EXERCISES »SUPPLEMENTALRESOURCES »The Biggest Little Farm chronicles the eightyear quest of John and Molly Chester asthey trade city living for 200 acres of barrenfarmland and a dream to harvest in harmonywith nature.Through dogged perseverance andembracing the opportunity provided bynature’s conflicts, the Chester’s unlock anduncover a biodiverse design for living thatMEDIA LITERARYRESOURCES »exists far beyond their farm, its seasons, andour wildest imagination.Featuring breathtaking cinematography,captivating animals, and an urgent messageto heed Mother Nature’s call, The BiggestLittle Farm provides us all a vital blueprint forbetter living and a healthier planet.Grades 3 - 6Content written by Katie Spear. Designed by Paola Rojas and Hillary Good.All SFFILM Education materials are developed in alignment with California educational standards for medialiteracy. SFFILM Education welcomes feedback and questions on all printed study materials.More info at sffilm.org/education
TEACHING THE FILM »ABOUT THE FILM »DISCUSSION & EXERCISES »SUPPLEMENTAL RESOURCES »aboutthe filmsubjectareasDirected by John Chester(USA 2018) English, 91 minA testament to the immense complexityof nature, The Biggest Little Farm followstwo dreamers and a dog on an odyssey tobring harmony to both their lives and theland. When the barking of their beloved dogTodd leads to an eviction notice from theirtiny LA apartment, John and Molly Chestermake a choice that takes them out of thecity and onto 200 acres in the foothills ofVentura County, naively endeavoring to buildone of the most diverse farms of its kind incomplete coexistence with nature. The landElementary Schoolthey’ve chosen, however, is utterly depleted ofnutrients and suffering from a brutal drought.The film chronicles eight years of dauntingwork and outsize idealism as they attemptto create the utopia they seek, planting10,000 orchard trees and over 200 differentcrops, and bringing in animals of everykind– including an unforgettable pig namedEmma and her best friend, Greasy the rooster.When the farm’s ecosystem finally begins toreawaken, so does the Chesters’ hope – butas their plan to create perfect harmony takesa series of wild turns, they realize that tosurvive they will have to reach a far greaterunderstanding of the intricacies and wisdomof nature, and of life itself.Social StudiesEnvironmental ScienceJournalismMiddle SchoolScienceconnectonlineIntoducing ecosystems to elementary-studentsBiggest Little Farm Film Websitebiggestlittlefarmmovie.comMore info at sffilm.org/education
TEACHING THE FILM »ABOUT THE FILM »DISCUSSION & EXERCISES »SUPPLEMENTAL RESOURCES »discussion questionspre-viewing topics and discussionVocabulary: Pre-teach or discuss thefollowing vocabulary words to your classprior to viewing the film .Biodynamic Certified avocado and lemonorchards, a vegetable garden, pastures,and over 75 varieties of stone fruit. Biodiversity Ecosystem Sustainable Regenerative Coexist What is a farm? What kind of work happens on a farm? Who or what lives on a farm?activity: fictionabout Emmathe Pigactivity: write tothe farmersHave your students write letters toChester and Molly to share what theunderstandings they gained from thefilm and to ask questions about howthings are going at their farm today.Collect the letters and mail to: ApricotLane Farms, 10700, Broadway Road,Moorpark, CA 93021 What is a documentary? How is a documentary different fromother types of films?about the farmApricot Lane Farms is a traditional foodsfarm started by John and Molly Chester,a husband and wife team, who left theirjobs in Los Angeles to become farmersand pursue their dream vision of startingApricot Lane Farms in 2011. Located 40miles north of Los Angeles, the farm isdedicated to the mission of creating awell-balanced eco-system and rich soilsthat produce nutrient-dense foods whiletreating the environment and the animalswith respect.Apricot Lane farm residents include pigs,goats, sheep, chickens, ducks, guineahens, horses, highland cattle, and onebrown swiss dairy cow named “Maggie.”Many of which, you will meet in theBiggest Little Farm. The land consists ofWrite your own fan fiction aboutEmma the Pig! Write a creative storyabout Emma --maybe she goes onan adventure with friends! Maybe shesaves the farm! Maybe she travels theworld!Make sure to write a beginning,middle, and end to your fictional story.Include a problem and solution thatwill engage your reader. Use vividlanguage to bring your story eventsto life!Include pictures or sketches to bringyour story to life.Have students present their storiesto each other in small groups anddiscuss the ideas everyone came upwith.More info at sffilm.org/education
TEACHING THE FILM »ABOUT THE FILM »DISCUSSION & EXERCISES »SUPPLEMENTAL RESOURCES »discussion questionscontextactivity: designa farm Summarize the beginning, middle,and end of the film. How does the farmchange from the beginning to the end ofthe film?Project or print this photo foryour class, and have them makeobservations about the design andlayout of the farm: bit.ly/2GmKCcj Who are Molly and John? Why did theydecide to start their own farm? What are some of the challenges Mollyand John faced as they were buildingtheir farm?Would you want tolive or work on afarm? Why or whynot? In what ways did nature impede Mollyand John’s plan to build a self-sustainingfarm? Describe some of the ways the farm’sanimals, plants, and insects coexistedpositively.style and message How did everything work together as afunctioning ecosystem? Who created this film? What was thepurpose of creating it? The film documents the lives of manydifferent animals who live or lived on thefarm. Which animals did you find themost interesting? Why? What questionsdo you have about them? Review the 6 types of documentaryfilms. bit.ly/2z9byaT Apricot Lane Farm survived a very bigfire, but many neighboring farms did not.What unique features of their farm madetheir survival possible? Early in the film, John has a lot ofempathy for the coyotes and does notwant to harm them. Later, his opinionchanges. How does his opinion of thecoyotes change? Why do you think itchanges?Then, have them draw a design fortheir own farm, and write a paragraphdescribing the layout. Encouragethem to use the vocabulary wordswhen writing about their design.Then have students present theirfarm designs to the class. After thepresentations, have a discussionabout the similar designs and ideasstudents generated for their ownfarms.Take it one step further and have theclass vote on the best farm!What type of documentary is BiggestLittle Farm? Provide details to explainyour response. How does the film score contribute toyour viewing experience? How wouldthe film be different if it didn’t have anymusic? Would you want to live or work on afarm? Why or why not?More info at sffilm.org/education
TEACHING THE FILM »ABOUT THE FILM »DISCUSSION & EXERCISES »SUPPLEMENTAL RESOURCES rdsCCSS.ELA-LITERACY.SL.5.2: Summarizea written text read aloud or informationpresented in diverse media and formats,including visually, quantitatively, andorally.CCSS.ELA-LITERACY.RI.5.3: Explain therelationships or interactions betweentwo or more individuals, events, ideas,or concepts in a historical, scientific,or technical text based on specificinformation in the text.CCSS.ELA-LITERACY.RI.5.6: Analyzemultiple accounts of the same eventor topic, noting important similaritiesand differences in the point of view theyrepresent.For more information about medialiteracy standards in your state, visit: MediaLiteracy.com: resources foradvancing media education, UnitedStates Standards for media literacyeducation. http://www.medialiteracy.com/standards.htm Frank W Baker’s guide to StateStandards Which Include Elements ofMedia Literacy. http://frankwbaker.com/state lit.htmCA Media Arts Anchor Standard6: Convey meaning through thepresentation of artistic workCA Media Arts Anchor Standard7:Perceive and analyze artistic workMore info at sffilm.org/education
TEACHING THE FILM »ABOUT THE FILM »DISCUSSION & EXERCISES »SUPPLEMENTAL RESOURCES »medialiteracyresources:screeningwithmeaningWe live in a world where technologymediates a large portion of humaninteraction and the exchange ofinformation. Every projected image, everyword published on a page or a website,and every sound from a speaker reachesits audience through the medium,through the language of the device. Theability to parse the vast array of mediamessages is an essential skill for youngpeople, particularly in a mainstreamcommercial culture that targetsyouth as a vulnerable, impressionablesegment of the American marketplace.Most students already have a keenunderstanding of the languages differentmedia use and the techniques theyemploy to inspire particular emotionsor reactions, but they often lack the skillor awareness to fully deconstruct themessages they continuously receive.Analysis of a media message—or anypiece of mass media content—can bestbe accomplished by first identifying itsprincipal characteristics:(1) Medium: the physical means bywhich it is contained and/or delivered(2) Author: the person(s) responsible forits creation and dissemination(3) Content: the information, emotions,values or ideas it conveys(4) Audience: the target audience towhom it is delivered(5) Purpose: the objectives of its authorsand the effects of its dissemination.Students who can readily identify thesefive core characteristics will be equippedto understand the incentives at workbehind media messages, as well astheir potential consequences. Medialiteracy education empowers students tobecome responsible consumers, activecitizens and critical thinkers.common core standardsMEDIUMAll Media Is Constructed.PURPOSEAll Media Messages Are Constructed for a Reason.AUDIENCEAll Media Messages Reach an Audience. What is the message, how is it delivered and in whatformat? Why was the message constructed? Who receives the message? Who benefits from dissemination of the message?How? For whom is the message intended? What technologies are used to present the message? What visual and auditory elements comprise themedia content? What expectations do you bring to the content, givenits medium and format?CONTENTMedia Is A Language For Information. To what extent does the message achieve its purpose? What is the public reaction to the media content and/or its message? What effect does the message have on the audience it What is your reaction to the media content and/or itsmessage?reaches, if any? How might others perceive this message differently?Why?AUTHORAll Media Is Constructed by Someone. Who is delivering the message? What is the subject of the media message? Who originally constructed the message? What information, values, emotions or ideas areconveyed by the media content? What expectations do you have of the content, givenits author(s)? What tools does the author employ to engage theviewer and evoke a response? To what extent did the content meet yourexpectations, given the format/author?More info at sffilm.org/education
TEACHINGABOUTTHETHEFILMFILM» »ABOUT THE FILMDISCUSSION& EXERCISES»»DISCUSSIONMEDIALITERACY& EXERCISES»»SUPPLEMENTAL RESOURCES »what is adocumentary?A documentary is a film whose goal isto capture truth, fact or reality as seenthrough the lens of the camera. But thereare many kinds of documentaries, andnot everyone’s idea of truth is the same.The Scottish filmmaker John Griersoncoined the term “documentary” in 1926to describe American filmmaker RobertFlaherty’s romanticized culture studies,but nonfiction filmmaking dates back tothe earliest motion picture reels.The definition of documentary expandedas filmmakers experimented withtechnology and the goals of nonfiction.Avant-garde documentarians, like DzigaVertov in the 1920s, believed that themechanical eye of the camera gave atruer image of reality than the humaneye and pointed his lens at newlyindustrialized cities. Leni Reifenstahl’spropaganda films from Nazi Germanyused the nonfiction form to convey apolitical message, a slanted truth.The international cinema vérité orobservational movements of the 1960sattempted to remove authorship fromthe documentary. The observationalfilmmaker hovered like a “fly on the wall”watching the world without commentary.Modern documentaries often seekto raise awareness about a social,environmental or political issue, guidingtheir audiences toward civic participationand activism.a brief timeline of thedocumentaryWhile watching a documentary, itis important to remember the coreconcepts of media analysis: who madethe film, for what audience and why?The nonfiction format can be deceptivelysubjective, as all filmmaking involves aninherent selection process: in the imagesthat are shot, the music and narrationthat accompanies them and, mostsignificantly, the way in which they are alledited together. Media literacy meansalways analyzing a documentary for itsmessage and authorial intent.Even though they are nonfiction films,most modern documentaries structuretheir content around a traditional storyarc, with a beginning, middle and end,as well as characters, and a conclusion,theme or thesis to impart to theaudience. Documentary filmmakersbegin their projects with an idea oran issue that they wish to exploremore deeply. Through research andplanning, they develop a comprehensiveplan before they begin shooting.1895 The Lumiere brothers develop thefirst motion picture film reesl, capturingbrief unedited clips of life around themcalled ‘actualities.’1900-1920 Travelogue or ‘scenic’films become popular showcasingexoticized images from around theglobe.1926 Dziga Vertov, with the SovietKino Pravda movement, released theexperimental nonfiction film, ManWith A Movie Camera.1939 John Grierson collaborated withthe Canadian government to formthe National Film Board of Canada,with the initial goal of creating Alliedpropaganda in the support of war.1960s The ‘cinema vérité’ movementbegan in Europe, followed by the‘direct cinema’ in the US. Portablecameras and sync sound allowedfilmmakers to capture intimatefootage with minial intervention.1968 The Argentine film, La Horade los Hornos, opened the door toactivist cinema of the 1970s, usinngfilm as a tool to counter capitalistpolitics in Latin America.1988 Independent Television Service(ITVS) was founded.2000s The widespread use of digitalcameras and editing software madethe documentary medium moreaffordable to independent filmmakers.The term ‘documentary’ comes toencompass a wide range of nonfictioncinema.More info at sffilm.org/education
How does the farm change from the beginning to the end of the film? Who are Molly and John? Why did they decide to start their own farm? What are some of the challenges Molly and John faced as they were building their farm? In what ways did nature impede Molly and John’s plan to build a self-sustaining farm? Describe some of the ways the farm’s animals, plants, and insects .
May 02, 2018 · D. Program Evaluation ͟The organization has provided a description of the framework for how each program will be evaluated. The framework should include all the elements below: ͟The evaluation methods are cost-effective for the organization ͟Quantitative and qualitative data is being collected (at Basics tier, data collection must have begun)
Silat is a combative art of self-defense and survival rooted from Matay archipelago. It was traced at thé early of Langkasuka Kingdom (2nd century CE) till thé reign of Melaka (Malaysia) Sultanate era (13th century). Silat has now evolved to become part of social culture and tradition with thé appearance of a fine physical and spiritual .
On an exceptional basis, Member States may request UNESCO to provide thé candidates with access to thé platform so they can complète thé form by themselves. Thèse requests must be addressed to esd rize unesco. or by 15 A ril 2021 UNESCO will provide thé nomineewith accessto thé platform via their émail address.
̶The leading indicator of employee engagement is based on the quality of the relationship between employee and supervisor Empower your managers! ̶Help them understand the impact on the organization ̶Share important changes, plan options, tasks, and deadlines ̶Provide key messages and talking points ̶Prepare them to answer employee questions
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Chính Văn.- Còn đức Thế tôn thì tuệ giác cực kỳ trong sạch 8: hiện hành bất nhị 9, đạt đến vô tướng 10, đứng vào chỗ đứng của các đức Thế tôn 11, thể hiện tính bình đẳng của các Ngài, đến chỗ không còn chướng ngại 12, giáo pháp không thể khuynh đảo, tâm thức không bị cản trở, cái được
Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. Crawford M., Marsh D. The driving force : food in human evolution and the future.
Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. 3 Crawford M., Marsh D. The driving force : food in human evolution and the future.
