ESP
English for Specific Purposes
Nadia Sanità • Antonio Saraceno • Donatella Bottero
New Edition
Images & Messages
English for Graphic Arts, Communication and Audio-Visual Productions
Teacher’s Book
Professional Competences
Skills for life
Focus on Careers
Authentic videos
Case Studies
Mapping your mind
EDIZIONE MISTA
+ LIBRO DIGITALE
Nadia Sanità • Antonio Saraceno • Donatella Bottero
New Edition
Teacher’s Book
Images and Messages, N.E. • Teacher’s Book
Realizzazione editoriale:
– Progetto e consulenza: Manuela Barbero
– Revisione linguistica: Annabel Pope
– Direzione grafica: Manuela Piacenti
– Progetto e impaginazione: Fabio Gallo (Studio Pagina32)
– Revisione testi: Lunella Luzi
– Registrazione audio: Ivano Atzori
Il progetto e la stesura dei contenuti sono stati condotti in stretta collaborazione dagli autori. In parti-
colare: Nadia Sanità ha curato i Moduli 2 e 6; Antonio Saraceno ha curato i Moduli 1, 3 e 4; Donatella
Bottero ha curato il Modulo 5; Patrizia Gorgerino ha, infine, curato il Modulo 7.
La sezione “Didattica inclusiva e BES” è opera di Nadia Sanità
L’Editore desidera esprimere uno speciale ringraziamento a Manuela Barbero e Patrizia Gorgerino
per il prezioso contributo offerto nella realizzazione di quest’opera.
In linea con le disposizioni di legge e le indicazioni ministeriali, si attesta che l’opera è realizzata in “forma
MISTA”, cartacea e digitale. L’Editore mette a disposizione gratuitamente sul proprio sito diverse risorse
didattiche online: materiali extra per attività di approfondimento e di esercitazione in parte ad accesso
libero e in parte riservati al docente.
L’opera è altresì disponibile in edizione DIGITALE per gli studenti diversamente abili e i loro docenti. L’Editore mette
a disposizione degli studenti non vedenti, ipovedenti, disabili motori o con disturbi specifici di apprendimento i
file pdf in cui sono memorizzate le pagine di questo libro. Il formato del file permette l’ingrandimento dei caratteri
del testo e la lettura mediante software screen reader.
Tutti i diritti riservati. I diritti di elaborazione in qualsiasi forma o opera, di memorizzazione anche digitale su
supporti di qualsiasi tipo (inclusi magnetici e ottici), di riproduzione e di adattamento totale o parziale con
qualsiasi mezzo (compresi i microfilm e le copie fotostatiche), i diritti di noleggio, di prestito e di traduzione sono
riservati per tutti i Paesi. L’acquisto della presente copia dell’opera non implica il trasferimento dei suddetti diritti
né li esaurisce.
Le immagini del testo (disegni e fotografie) che rappresentano nomi, marchi o prodotti commerciali hanno un
valore puramente didattico di esemplificazione. L’autore e l’editore non intendono cioè sostenere che i prodotti
fotografati siano migliori o peggiori di altri, né indirettamente consigliarne o sconsigliarne l’acquisto. Peraltro non
esiste alcun rapporto di nessun genere con i relativi produttori: Nomi e marchi sono generalmente depositati o
registrati dalle rispettive case produttrici.
L’Editore è a disposizione degli aventi diritto con i quali non gli è stato possibile comunicare, nonché per eventuali
omissioni e inesattezze nella citazione delle fonti dei brani, illustrazioni e fotografie riprodotti nel presente volume.
Printed in Italy
Ristampe
5 4 3 2 1 0
INDICE
INTRODUZIONE ................................................... 5 DIDATTICA INCLUSIVA E BES
• Normativa e inquadramento
OBIETTIVI DEL TESTO ................................. 5 scolastico ................................................................ 21
• Dislessia, didattica ....................................... 29
STRUTTURA DEL TESTO ........................... 6
• Didattica inclusiva e resilienza ........ 43
MATERIALE DEL TESTO • Altri tipi di Bisogni Educativi
Speciali ...................................................................... 50
• Audio ......................................................................... 7
• Suggerimenti e modelli per la
• Digitale ..................................................................... 7 valutazione .......................................................... 53
• Esame di stato .................................................. 7
PROGRAMMAZIONE DIDATTICA .... 63
• Test ............................................................................... 7
UDA • UNITÀ DIDATTICHE
• BES ............................................................................... 8
DI APPRENDIMENTO
• Recupero e potenziamento .................. 8 INTERDISCIPLINARI ....................................... 83
• Scuola e lavoro ................................................ 8
UNIT MAPS & DIAGRAMS
GLI ISTITUTI TECNICI Unit 1.1 ............................................................................. 101
Unit 1.2 ............................................................................. 102
• L’identità degli istituti tecnici.............. 9
Unit 2.1 ............................................................................. 103
• La scuola e il mondo del lavoro ..... 10 Unit 2.2 ............................................................................. 104
• Module 5
MODULE TESTS Unit 5.1 381
.....................................................................
• Module 1 ................................................................ 275 Unit 5.2 ..................................................................... 385
• Module 2 ................................................................ 279 Unit 5.3 ..................................................................... 388
• Module 3 ................................................................ 285 Vocabulary ...................................................................... 392
• Module 4 ................................................................ 291
Life skills .......................................................................... 392
• Module 5 ................................................................ 297
Case Study ....................................................................... 392
• Module 6 ................................................................ 301
CLIP ................................................................................... 393
• Module 7 ................................................................ 307
• Module 6
KEYS • MODULE TESTS ........................................ 313
Unit 6.1 394
.....................................................................
5
STRUTTURA DEL TESTO
Images & Messages N.E. è diviso in sette Moduli, ognuno dei quali è ripartito
in un numero variabile di unità.
• UNITÀ
Ogni Unità è suddivisa in brevi Capitoli su due pagine – teoria ed esercizi
– per favorire non solo uno studio più parcellizzato, ma anche la scelta
dei contenuti antologica da parte dell’insegnante. I contenuti dei capitoli
sono divisi in paragrafi titolari per renderne la comprensione più agevole.
I testi vengono affrontati in modo graduale, attraverso esercizi di
esplorazione del lessico specifico, comprensione scritta e orale, globale e
specifica, reimpiego dei termici tecnici e produzione scritta e orale.
Brevi link arricchiscono i brani per consentire una maggiore interattività con
l’allievo. Si tratta di curiosità, ampliamenti, rimandi, citazioni, attività o mini-
approfondimenti che hanno l’intenzione di favorire una lettura più interessante
ed offrire spunti di riflessione o interazione. Sono cromaticamente differenziati:
verdi per i link con attività, arancioni per quelli informativi.
Alcune rubriche di approfondimento o curiosità, inoltre, corredano la pagina
degli esercizi. Un ricco apparato iconografico correda i brani di lettura, per
ognuno dei quali è previsto un esauriente glossario.
Al termine di ogni Unità si trovano le seguenti sezioni, ognuna costituita da
una pagina:
– Grammar – Pagina di revisione delle strutture grammaticali più comuni
accompagnata da esercizi di rinforzo calati nel contesto;
– Round up – Pagina di esercizi ricapitolativi su lessico e contenuti
dell’Unità per consentire un efficace consolidamento.
• FINE MODULO
Al termine di ognuno dei sette Moduli, il testo propone delle ulteriori
attività, suddivise nelle seguenti parti, ognuna costituita di due pagine:
– Vocabulary – Pagina di esercizi di revisione e consolidamento del lessico
introdotto nel Modulo.
– Life skills – In questa parte gli studenti sono chiamati a mettere in pratica
quanto studiato attraverso attività varie, compiti di realtà e collaborativi,
lavori di gruppo e a coppie, che, sempre avendo l’apprendimento linguistico
come obiettivo principale, hanno un taglio di tipo pratico calato nella realtà.
– Case study – Presentazione di un argomento di attualità collegato ai
contenuti introdotti, tratto da fonti autentiche e corredato di esercizi,
mirati anche all’approfondimento e alla discussione tra gli studenti
dell’argomento presentato.
– Clip – Attività relative una breve clip tratta da diverse tipologie di filmati
le cui tematiche sono attinenti ai contenuti presentati nel Modulo.
– Mapping your mind – Mappa concettuale, strumento utile per
rappresentare la rete di relazioni tra i vari argomenti del Modulo.
6
MATERIALE DEL TESTO
Audio
Per le tracce audio viene proposto un elevato numero di attività di ascolto
in tutte le Unità; il contesto è prevalentemente collegato agli argomenti
trattati nella sezione. La lunghezza e la complessità sono diversificate e gli
audioscript sono tutti riportati nel Teacher’s Book. Dal punto di vista lessicale
gli ascolti riprendono i vocaboli chiave dell’Unità, inseriti in contesti reali e
di vita professionale con l’utilizzo di registri linguistici diversi, da informale e
familiare a più formale, e accenti di diversa provenienza geografica.
Digitale
Disponibili sul sito www.edisco.it:
– file audio formato MP3 con la registrazione delle attività di ascolto;
– clip di tutti i video presenti nel testo;
– numerosi materiali per attività di approfondimento e di esercitazione;
– attività per la preparazione alle prove INVALSI.
Un’ampia sezione di risorse online è collegata al testo. I vari materiali proposti
possono essere utilizzati in modo flessibile: possono offrire spunti per altre attività,
anche di gruppo, e offrono la possibilità di impostare percorsi personalizzati e in
armonia con il livello di competenza raggiunto da ogni singolo allievo.
Il materiale della parte online del testo è organizzato in sezioni:
– Extra material
– Civilisation
– Literary Bits
Esame di stato
In accordo con le modalità di attuazione dell’Esame di Stato che prevede un
colloquio interdisciplinare, il testo offre numerosi spunti per collegamenti con altre
discipline e l’apposita sezione in questo volume consente di confrontarsi con alcune
proposte di possibili simulazioni di Colloquio che partano dalla lingua inglese.
Test
Il Teacher’s Book contiene test formativi (due per ogni singola Unità) e test
sommativi (due per ogni singolo Modulo). Ciascun test propone diverse
tipologie di esercizi ed è molto ricco di attività che esercitano le quattro abilità
di base; può essere dunque adattato alle diverse esigenze dei docenti a seconda
degli studenti con cui si trovano a lavorare.
Tutti i test sono disponibili in una versione adattata BES (e quindi con
caratteristiche di layout secondo le linee guida per studenti con DSA). Ogni test
è anche disponibile in formato editabile per poter garantire al docente la scelta
della lunghezza della verifica, l’eventuale ulteriore riduzione del numero degli
item/esercizi e la scelta della tipologia di esercizi da proporre.
Le chiavi di ogni test sono disponibili all’interno del Teacher’s Book.
7
BES
Images & Messages N.E. comprende attività adatte o progettate anche per
allievi con Bisogni Educativi Speciali:
• la grafica del testo tende a tener conto delle difficoltà di lettura di alcuni DSA e
le pagine chiuse che caratterizzano il libro possono anch’esse rappresentare una
risorsa perché facilmente consultabili per lo studio e nei momenti di verifica;
• il libro di testo in formato digitale può favorire il lavoro in classe e a casa;
• le mappe ed il glossario possono rientrare nelle misure compensative suggerite
nella maggior parte dei casi per lo svolgimento delle prove in classe;
• le tipologie di attività, sia del testo che dei test, sono molto spesso adatte a
studenti con problematiche di dislessia o difficoltà di apprendimento:
Images & Messages N.E. è molto ricco di esercizi a risposta chiusa, quali
vero/falso, abbinamento, scelta multipla e riconoscimento – attività
generalmente suggerite per le prove d’esame;
• i test per il docente sono forniti in formato editabile per facilitarne la
personalizzazione a seconda delle esigenze particolari di ciascun studente,
in conformità con le misure dispensative o compensative individuate.
Recupero e potenziamento
Il testo è strutturato in modo tale che sia possibile organizzare attività di
revisione da gestire in classe come recupero in itinere e/o autonomo; le sezioni
di Vocabulary, Grammar e Round Up propongono infatti attività di ripresa delle
strutture grammaticali, del lessico e dei contenuti specifici. All’interno delle
pagine di Clip gli studenti potranno ampliare la conoscenza dei contenuti di
settore attraverso approfondimenti culturali.
Certificazioni linguistiche
Images & Messages N.E. presenta attività specifiche per il conseguimento delle
certificazioni linguistiche di livello B1 e B2, come delineate dal CEFR (Common
European Framework of Reference for Languages). Le tipologie di esercizi del
testo sono dunque ispirate ai test Preliminary, First, IELTS e INVALSI.
8
GLI ISTITUTI TECNICI
L’identità degli istituti tecnici
I nuovi ordinamenti del secondo ciclo del sistema educativo di istruzione e
formazione di cui al decreto legislativo n. 226/05 e che ebbero attuazione
dall’anno scolastico 2010/11, sono fondati sul principio dell’equivalenza
formativa di tutti i percorsi con il fine di valorizzare i diversi stili di
apprendimento degli studenti e dare una risposta articolata alle domande
del mondo del lavoro e delle professioni. La diversificazione dei percorsi
di istruzione e formazione ha proprio lo scopo di valorizzare le diverse
intelligenze e vocazioni dei giovani, anche per prevenire i fenomeni di
disaffezione allo studio e la dispersione scolastica, ferma restando l’esigenza
di garantire a ciascuno la possibilità di acquisire una solida ed unitaria cultura
generale per divenire cittadini consapevoli, attivi e responsabili.
Nel quadro sopra delineato, il rilancio dell’istruzione tecnica si fonda sulla
consapevolezza del ruolo decisivo della scuola e della cultura nella nostra
società non solo per lo sviluppo della persona, ma anche per il progresso
economico e sociale; richiede perciò il superamento di concezioni culturali
fondate su un rapporto sequenziale tra teoria/pratica e sul primato dei saperi
teorici.
Agli istituti tecnici è affidato il compito di far acquisire agli studenti non solo
le competenze necessarie al mondo del lavoro e delle professioni, ma anche
le capacità di comprensione e applicazione delle innovazioni che lo sviluppo
della scienza e della tecnica continuamente produce. Per diventare vere
“scuole dell’innovazione”, gli istituti tecnici sono chiamati ad operare scelte
orientate permanentemente al cambiamento e, allo stesso tempo, a favorire
attitudini all’autoapprendimento, al lavoro di gruppo e alla formazione
continua.
In questo quadro, orientato al raggiungimento delle competenze richieste
dal mondo del lavoro e delle professioni, le discipline mantengono la loro
specificità, ma è molto importante che i docenti scelgano metodologie
didattiche coerenti con l’impostazione culturale dell’istruzione tecnica
che siano capaci di realizzare il coinvolgimento e la motivazione
all’apprendimento degli studenti. Sono necessari, quindi, l’utilizzo di metodi
induttivi, di metodologie partecipative, una intensa e diffusa didattica
di laboratorio, da estendere anche alle discipline dell’area di istruzione
generale, con l’utilizzo, in particolare, delle tecnologie dell’informazione
e della comunicazione, di attività progettuali e di alternanza scuola-lavoro
per sviluppare il rapporto col territorio e le sue risorse formative in ambito
aziendale e sociale.
9
La scuola e il mondo del lavoro
Soprattutto negli istituti tecnici, che offrono un’ampia possibilità, dopo il diploma,
di intraprendere subito un percorso professionale, è auspicabile che gli studenti
imparino il prima possibile ad elaborare le acquisizioni che la scuola propone loro
attraverso lo studio delle discipline, arricchendole e integrandole con esperienze
che li mettano in grado di confrontarsi con crescente autonomia con le richieste
dal mondo del lavoro e delle professioni, per mettere in relazione questi dati con
gli interessi e le aspirazioni personali. Nel rispetto dell’autonomia organizzativa
e didattica di ciascuna istituzione scolastica, è auspicabile infine che l’impegno
della scuola si concentri prevalentemente su principi che sviluppino gli aspetti
educativi più intimamente connessi con la dimensione della progettualità
personale, in funzione di una facilitazione oggettiva delle scelte degli studenti.
Si tratta di valorizzare le potenzialità di ciascun allievo, soddisfare le aspettative
di crescita e di miglioramento e individuare percorsi rispondenti ai bisogni degli
studenti. In altre parole, promuovere un orientamento che sostenga l’esplorazione
delle possibilità di sviluppo personale e professionale, che valorizzi la dimensione
orientativa delle discipline, che favorisca il collegamento e l’interazione della
scuola con il territorio e il mondo produttivo, soprattutto attraverso gli stage
e l’alternanza e che proponga agli studenti attività coinvolgenti, utilizzando
diffusamente metodologie attive e contesti applicativi.
Per svolgere questo delicato compito, gli istituti tecnici possono contare su
alleanze consolidate, a livello locale, regionale e nazionale, con le istituzioni e
le associazioni professionali e imprenditoriali.
L’apertura della scuola al mondo del lavoro e delle professioni è, tra l’altro,
un’opportunità, unanimemente riconosciuta, per prevenire e contrastare la
dispersione scolastica, oltre che per favorire l’occupabilità. Per mantenere
elevati i livelli di occupazione occorre puntare su livelli di istruzione più elevati,
ma anche sull’apertura a esperienze e linguaggi diversi: contenuti specialistici
e suddivisioni disciplinari tendono ad una crescente interdipendenza e
contaminazione tra i saperi. Per far fronte alle nuove sfide dell’educazione,
l’Unione Europea raccomanda ai paesi membri di rinnovare i sistemi educativi
nazionali in modo da superare la contrapposizione tra cultura generale e
cultura tecnica e professionale, creare nuovi ponti tra scuola, società e impresa,
considerando quest’ultima anche come ambiente formativo, per garantire ai
cittadini e ai lavoratori un apprendimento lungo l’intero corso della vita.
In questo contesto sono sempre più necessari l’interazione e il dialogo, in
forme non episodiche, tra le imprese, che per sopravvivere e svilupparsi devono
divenire “fabbriche di conoscenza”, e le scuole, tradizionali “fabbriche della
conoscenza e della cittadinanza”.
L’impianto del nuovo ordinamento accentua la rilevanza dell’istruzione tecnica come
canale formativo dotato di una propria identità culturale e pedagogica, fondata
sulla filiera scientifica e sulle tecnologie che caratterizzano gli indirizzi di studio.
10
I NUOVI ISTITUTI PROFESSIONALI
La “Buona Scuola” (legge n. 107 del 13 luglio 2015), all’articolo 1, commi 180
e 181, lett. d, ha previsto un’apposita delega legislativa sulla “revisione dei
percorsi dell’istruzione professionale” e sul “raccordo” di questi ultimi con
i percorsi della IeFP. Questo Decreto ha ridisegnato radicalmente l’impianto
dell’istruzione professionale italiana tentando di integrare meglio i due
sottosistemi, quello a regia statale e quello a regia regionale. La riforma ha
preso avvio con le prime classi dall’anno scolastico 2018-2019, e si concluderà
nell’anno scolastico 2022/2023.
I nuovi indirizzi
Per corrispondere alla nuova domanda di competenze a livello settoriale e
territoriali, gli indirizzi previsti sono passati da 6 a 11 ed è stato aumentato il
monte ore dedicato alle attività pratiche, di laboratorio e in alternanza presso
le imprese, nonché la quota di flessibilità oraria a disposizione delle scuole
per poter adattare meglio l’offerta formativa alla domanda del territorio e dei
giovani stessi. Agli 11 indirizzi di studio corrispondono specifici “profili di
uscita e risultati di apprendimento declinati in termini di competenze, abilità e
conoscenza” (art. 3, comma 3).
11
Nuovo assetto organizzativo
Il decreto legislativo prevede un nuovo assetto organizzativo, articolando
la strutturazione quinquennale dei percorsi in un biennio e un successivo
triennio, prevedendo, in particolare per il biennio, che le attività e gli
insegnamenti di istruzione generale, così come quelli di indirizzo, siano
“aggregati in assi culturali”, e consentendo per di più l’organizzazione delle
azioni didattiche in “periodi didattici”.
La personalizzazione e il PFI
Elemento fondamentale del nuovo assetto didattico ed organizzativo è il
progetto formativo individuale (PFI) che ciascun consiglio di classe redige
per ciascuno studente entro il 31 gennaio del primo anno di frequenza,
aggiornandolo durante l’intero percorso scolastico “a partire dal bilancio
personale”. Il PFI è lo strumento che serve sia per evidenziare i saperi e le
competenze acquisiti dagli studenti anche in modo non formale e informale,
sia per rilevare potenzialità e carenze riscontate al fine di motivare e orientare
gli studenti “nella progressiva costruzione del proprio percorso formativo
e lavorativo”. Spetterà al dirigente scolastico, sentito il consiglio di classe,
individuare all’interno di quest’ultimo i docenti che, in qualità di tutor,
sosterranno gli studenti nell’attuazione del PFI.
12
La valutazione degli apprendimenti
La valutazione intermedia e finale dei risultati di apprendimento è effettuata
accertando il livello delle competenze, abilità e conoscenze maturate in
relazione alle unità di apprendimento (UdA) nelle quali è strutturato il
Progetto formativo individuale (PFI). Pertanto, le UdA rappresentano anche il
riferimento per la valutazione, la certificazione e il riconoscimento dei crediti
attribuiti agli studenti, anche ai fini del passaggio ad altri percorsi dei sistemi
formativi professionalizzanti. Circa la valutazione al termine del primo anno
del biennio, si prevede che si proceda alla valutazione intermedia dei risultati
relativi alle UdA inserite nel PFI, e che, a seguito di questa valutazione, il
consiglio di classe comunichi agli studenti interessati le carenze riscontrate ai
fini della revisione del PFI e la definizione delle “misure di recupero, sostegno
ed eventuale ri-orientamento”.
I percorsi di IP terminano con l’esame di Stato (disciplinato con il recente
d.lgs. n. 62/2017) il cui superamento consente il rilascio del diploma finale
che attesta l’indirizzo di studio seguito, la durata del corso, il punteggio
complessivo conseguito, e l’indicazione del codice ATECO attribuito
all’indirizzo. Al diploma è allegato il curriculum dello studente, così come i
crediti maturati per l’acquisizione del certificato di specializzazione tecnica
superiore (rilasciato dagli IFTS).
13
LE ABILITÀ LINGUISTICHE
Le quattro abilità linguistiche fondamentali (lettura, ascolto, scrittura e parlato)
possono essere divise in due gruppi:
1) abilità ricettive o di input (lettura e ascolto) vs. abilità produttive o di output
(scrittura e parlato);
2) abilità orali (ascolto e parlato) vs. abilità scritte (scrittura e lettura).
Ascolto (Listening)
È la prima language skill che mettiamo in pratica nella vita. Implica
l’identificazione di suoni, accenti, inflessioni, intonazioni, ecc. e la
comprensione di parole e frasi a livello orale per recepire un messaggio.
Di solito ci sono due tipi di situazioni in cui possiamo ritrovarci a utilizzare
questa abilità linguistica: situazioni interattive e situazioni non-interattive.
Le prime sono rappresentate da conversazioni faccia a faccia o al telefono e
comportano un’interazione con un altro parlante, a cui possiamo chiedere
spiegazioni, chiarimenti o semplicemente di ripetere e parlare più lentamente.
Le seconde, invece, sono costituite da tutte quelle situazioni in cui l’ascolto è
“passivo”: radio, televisione, registrazioni, conferenze, ecc. In questi casi non
abbiamo l’opportunità di interagire con il parlante e pertanto esse richiedono
solitamente uno sforzo maggiore.
È importante che lo studente non si scoraggi e pertanto è importante che
capisca che il raffinamento di questa abilità richiede esercizio costante, che
l’insegnante provvederà a fornire. Si deve insistere sulla concentrazione,
nel caso di ascolto di test registrati, poiché gli stimoli non uditivi possono
distrarre dal task. Inoltre, l’insegnante provvederà ad incoraggiare gli studenti
a riconoscere parole/segmenti chiave della registrazione e li inviterà a non
preoccuparsi eccessivamente di stringhe linguistiche non funzionali alla
comprensione in oggetto.
14
Parlato (Speaking)
È strettamente legato alla capacità di ascolto, in quanto insieme rappresentano
il fulcro primario della comunicazione. Parlare, così come scrivere, implica
tante altre micro-abilità che permettono di veicolare al meglio un messaggio:
ad esempio, il tono, il registro, la pronuncia, il ritmo, l’intonazione, ecc.
Tutte queste caratteristiche sono parte integrante di questa abilità linguistica
e, di conseguenza, la mancanza di anche una sola di tali caratteristiche può
compromettere l’efficacia comunicativa del messaggio che vogliamo veicolare.
Anche in questo caso, l’insegnante offrirà uno stimolo/pretesto per la
comunicazione, preferibilmente basato sugli interessi personali o le curiosità
disciplinari degli studenti. L’insegnante, inoltre, incoraggerà gli studenti al
raggiungimento della comunicazione orale attraverso frasi non complesse ed
alla ricerca di equivalenti comunicativi per veicolare concetti troppo complessi
o al ricorso ad esempi per raggiungere lo scopo comunicativo.
Lettura (Reading)
È una delle skills che, anche nella propria lingua madre, richiede formazione
e pratica. Oltre al riconoscimento dei caratteri, la lettura necessità anche la
comprensione del significato delle varie parole codificate in quei caratteri
e delle frasi che a loro volta queste formano. È importante incoraggiare gli
studenti ad acquisire metodi di lettura selettiva come lo skimming (leggere
velocemente un testo per estrapolarne un’idea generale – general gist) o
lo scanning (andare alla ricerca selettiva dell’informazione richiesta dalla
consegna) attraverso un esercizio alternato e costante di entrambi. Un’ottima
attività introduttiva alla lettura di testi tecnici e quindi piuttosto specializzati
linguisticamente, consiste in un’attività introduttiva di brainstorming su parole/
concetti chiave che si incontreranno nel testo. Questo consente agli studenti di
affrontare la lettura dotati di un minimo di pre-conoscenze.
Scrittura (Writing)
Pur sottostando a quasi tutte le norme che regolano il parlato, l’ascolto e la
lettura, ha peculiarità proprie, specialmente in L2 poiché le regole stilistiche
e la strutturazione della frase non sono sovrapponibili a quelle della lingua
madre. È importante innanzitutto che gli studenti siano consapevoli dei
diversi tipi di testo scritto (lettera, riassunto, relazione, messaggio, email,
ecc.) e dei relativi registri (formale/informale) che si realizzano attraverso
l’impiego di strutture linguistiche e lessico diversificati. Pertanto sarà cura
dell’insegnante offrire esempi e modelli di tali testi ed evidenziarne le
peculiarità. I testi scritti dovranno preferibilmente aderire ad una traccia,
inizialmente più dettagliata e via via più generica. È importante anche
determinare la lunghezza del testo richiesto, segnalando le parole, da un
minimo ad un massimo. Cura particolare nella correzione degli elaborati
andrà nel tentativo di distinguere il tipo di errore (vocabulary, word order,
punctuation, grammar, appropriacy, ecc.)
15
CLIL
Content and Language Integrated Learning (CLIL), o Apprendimento Integrato
di Lingua e Contenuto, è un approccio educativo centrato su due obiettivi in
cui una seconda lingua viene usata per insegnare ed imparare sia lingua che
contenuti.
Fu introdotto da David Marsh e Anne Maljers nel 1994. Il CLIL è una
metodologia di insegnamento che si è sviluppata in diversi Paesi Europei a
partire dalla metà degli anni ’90; in questo periodo, anche in Italia, grazie allo
sviluppo di progetti europei organizzati da varie istituzioni e Università, alcune
scuole hanno attivato sperimentazioni di insegnamenti di contenuti disciplinari
in lingua straniera.
Il CLIL è diventato un’innovazione che implica la costruzione di competenza
linguistica e comunicativa contestualmente allo sviluppo ed acquisizione
di conoscenze ed abilità disciplinari; non è apprendimento di lingua ma
nemmeno di una materia, bensì una fusione di entrambe. L’approccio CLIL
comprende sempre un duplice obiettivo in quanto in una lezione CLIL si presta
contemporaneamente attenzione sia alla disciplina insegnata sia alla lingua
straniera veicolare.
Grazie al suo approccio a doppia focalizzazione, il CLIL offre un contesto
più naturale per lo sviluppo della lingua che porta immediatezza, rilevanza
e valore aggiunto al processo di apprendimento della stessa, sviluppando
competenze sia nella disciplina non linguistica sia nella lingua straniera in cui
questa è insegnata. Conseguire questo duplice obiettivo richiede lo sviluppo
di uno speciale approccio integrato sia all’insegnamento sia all’apprendimento
e richiede che gli insegnanti dedichino attenzione speciale non solo a come
insegnare la lingua, ma anche al processo educativo più in generale. Il CLIL
si dimostra efficace in tutti i settori dell’istruzione, dalla scuola primaria fino
all’istruzione degli adulti ed istruzione accademica.
Gli insegnanti che lavorano con il CLIL normalmente parlano fluentemente
la lingua obiettivo, oppure sono bilingui o madrelingua. In molte istituzioni
gli insegnanti di lingua lavorano in collaborazione con altri dipartimenti che
offrono il CLIL in diverse materie. Il fattore chiave è che il discente acquisisce
nuove conoscenze su una materia che non implica di per sé l’insegnamento
della lingua, ma in realtà usa ed impara una lingua straniera. Le metodologie e
le strategie usate sono spesso legate all’area della materia di riferimento, in cui
sono i contenuti che guidano le attività. Inoltre, il CLIL permette alle lingue di
essere insegnate in modo relativamente intenso senza richiedere una eccessiva
parte dell’orario scolastico.
16
Il profilo del docente CLIL
Il profilo del docente CLIL della scuola secondaria di secondo grado è
caratterizzato da:
• competenze linguistico-comunicative nella lingua straniera veicolare di
livello C1 del Quadro Comune Europeo di Riferimento per le lingue (QCER)
• competenze metodologico-didattiche acquisite al termine di un corso di
perfezionamento universitario del valore di 60 CFU (Credito Formativo
Universitario) per i docenti in formazione iniziale e di 20 CFU per i docenti
in servizio.
17
PROGETTARE PER COMPETENZE
I saperi e le competenze, articolati in conoscenze e abilità, con l’indicazione
degli assi culturali di riferimento, sono descritti nel documento tecnico
allegato al regolamento emanato con decreto del Ministro della Pubblica
Istruzione n. 139 del 22 agosto 2007. La certificazione dei saperi e delle
competenze acquisite dagli studenti nell’assolvimento dell’obbligo di
istruzione è prevista all’art. 4, comma 3, del citato regolamento, in linea con
le indicazioni dell’Unione europea, con particolare riferimento al Quadro
Europeo dei titoli e delle qualifiche EQF.
“COMPETENZA: comprovata capacità di usare conoscenze, abilità e capacità
personali, sociali e/o metodologiche, in situazioni di lavoro o di studio e nello
sviluppo professionale e/o personale”.
(European Qualifications Framework - Quadro europeo delle Qualifiche e dei Titoli)
18
DIDATTICA INCLUSIVA E BES
1.1 Introduzione
La presente sezione non ambisce a fornire un’illusoria ricetta di didattica miracolosa ai
docenti, ma, nella pletora dei testi sul medesimo argomento, si impegna a chiarire
alcuni punti e a fornire suggerimenti orientativi a quegli insegnanti di lingua inglese
che sempre più intendono riuscire ad “includere” tutti gli studenti nelle proprie lezioni.
La prima parte sarà dedicata alla normativa quadro che ci consente di categorizzare e
definire il fenomeno – normativa intesa dunque come risorsa e non come qualcosa di
noioso e astratto; si cercherà poi di inquadrare meglio il fenomeno della dislessia,
poiché la lingua inglese, non essendo trasparente fonologicamente (cioè non avendo
corrispondenza tra scritto e parlato come in larga misura sono l’italiano e il tedesco),
causa notevoli problemi di decodifica agli studenti affetti da tale disturbo; infine, scopo
ambizioso di tale pubblicazione sarà anche quello di tentare di contribuire a superare
lo schema “misure compensative e dispensative”, provando a suggerire una didattica
qualitativamente diversa da inserire in un Piano Didattico Personalizzato che recepisca
pienamente la CM n. 8 del 6/3/2013 e che diventi davvero adatta a tutta la classe:
«Il piano Didattico Personalizzato non può più essere inteso come mera
esplicitazione di strumenti compensativi e dispensativi per gli alunni con DSA».
21
Negli altri paesi europei, invece, si era diffusa una normativa inclusiva che
riguardava alunni con difficoltà di apprendimento non dovute a cause sanitarie ma
a svantaggi socioculturali, ambientali, familiari e/o personali. Tali alunni venivano
considerati alunni con SEN (Special Educational Needs), di cui l’acronimo italiano
BES è la traduzione. L’apertura a questo nuovo approccio è stata la traduzione
italiana degli ICF1 (International Classification of Functioning, Disability and Health)
dell’Organizzazione Mondiale della Sanità. Il modello diagnostico degli ICF
considera la persona in modo olistico, in una prospettiva globale – dunque
biologica, psicologica e anche sociale – prendendo quindi in considerazione la
totalità e la complessità dei funzionamenti delle persone e non solo gli aspetti bio-
strutturali. La direttiva ministeriale 27 del dicembre del 2012 basa, quindi, il
concetto di bisogno educativo speciale proprio sugli ICF:
«Gli alunni con disabilità si trovano inseriti all’interno di un contesto sempre più
variegato, dove la discriminante tradizionale – alunni con disabilità/alunni senza
disabilità – non rispecchia pienamente la complessa realtà delle nostre classi. Anzi,
è opportuno assumere un approccio decisamente educativo, per il quale
l’identificazione degli alunni con disabilità non avviene sulla base della eventuale
certificazione, che certamente mantiene utilità per una serie di benefici e di
garanzie, ma allo stesso tempo rischia di chiuderli in una cornice ristretta. A questo
riguardo è rilevante l’apporto, anche sul piano culturale, del modello diagnostico
ICF (International Classification of Functioning) dell’OMS, che considera la persona
nella sua totalità, in una prospettiva bio-psico-sociale. Fondandosi sul profilo di
funzionamento e sull’analisi del contesto, il modello ICF consente di individuare i
Bisogni Educativi Speciali (BES) dell’alunno prescindendo da preclusive
tipizzazioni. In questo senso, ogni alunno, con continuità o per determinati periodi,
può presentare Bisogni Educativi Speciali: o per motivi fisici, biologici, fisiologici o
anche per motivi psicologici, sociali, rispetto ai quali è necessario che le scuole
offrano adeguata e personalizzata risposta».
Nel 2007, quindi diversi anni prima della direttiva ministeriale di cui sopra, la
Regione Piemonte emise una delibera in cui si parlava di EES (Esigenze Educative
Speciali). Successivamente, alcuni confusero i due acronimi, immaginando che
fossero la stessa cosa. In realtà i BES (Bisogni Educativi Speciali) non devono
essere intesi come una nuova categoria, ma come una macro-categoria, un
termine-ombrello che comprende al suo interno tre sottocategorie:
• la prima fascia, corrispondente alla disabilità
• la seconda fascia, riguardante i disturbi evolutivi specifici e a sua volta divisa
in DSA (Disturbi Specifici di Apprendimento) e EES (per la Regione Piemonte)
• la terza fascia, comprendente le difficoltà che nascono da uno svantaggio
socio/economico, linguistico e culturale.
Di seguito, una tabella riepilogativa aiuterà a comprendere il quadro normativo di
riferimento.
1. https://www.reteclassificazioni.it/portal_main.php?portal_view=public_custom_page&id=25
22
FASCIA NORMATIVA OGGETTO PUNTI CHIAVE
Prima L. 104/92 Legge quadro per Tratta della certificazione di disabilità e invita a una lettura
l’assistenza, l’integrazione equa dei bisogni. Il Profilo Dinamico Funzionale e il Piano
sociale e Educativo sono, per tale legge quadro fondamentale, i
i diritti delle persone momenti concreti in cui si esercita il diritto all’istruzione e
handicappate all’educazione dell’alunno con disabilità.
L. 17/1999 Integrazione e modifica Garantisce agli studenti handicappati iscritti all’università
della legge quadro 104/1992 sussidi tecnici e didattici specifici.
L. 62/2000 Norme per la parità Stabilisce che le scuole paritarie, svolgendo un servizio
scolastica e disposizioni pubblico, devono accogliere chiunque, compresi gli alunni e
sul diritto allo studio e gli studenti con handicap.
all’istruzione
DM 185 del Regolamento recante Prevede che ai fini della individuazione dell’alunno come
23/02/2006 modalità e criteri per soggetto in situazione di handicap, le Aziende Sanitarie
l’individuazione dispongano, su richiesta documentata dei genitori o degli
dell’alunno come soggetto esercenti la potestà parentale o la tutela dell’alunno, appositi
in situazione accertamenti collegiali, documentati attraverso la redazione di
di handicap un verbale che rechi l’indicazione della patologia accertata
con riferimento alle classificazioni internazionali dell’OMS.
Nota MIUR Linee guida Le direttive mirano ad innalzare il livello qualitativo degli
del sull’integrazione degli interventi formativi ed educativi sugli alunni portatori di
4/08/2009 alunni con disabilità disabilità fisiche, psichiche e sensoriali, a garanzia di una più
piena conformità ai principi dell’integrazione da parte di tutti
gli operatori nel mondo della scuola. La prima parte consta di
una panoramica sui principi generali (norma costituzionale del
diritto allo studio, DPR 275/1999, Convenzione ONU per i
diritti delle persone con disabilità, L. 18/2009) ribadendo il
modello sociale della disabilità. La seconda parte entra nelle
pratiche scolastiche, riconoscendo la responsabilità educativa
di tutto il personale della scuola e ribadendo la necessità della
corretta e puntuale progettazione individualizzata per l’alunno
con disabilità, in accordo con gli Enti Locali, l’ASL e le
famiglie. La terza parte prende in considerazione la
dimensione inclusiva della scuola: il POF è inclusivo quando
prevede nella quotidianità azioni da compiere per dare risposte
precise ad esigenze educative individuali e non concepisce
nella pratica scolastica la presenza dei disabili come un
“incidente di percorso” da affidare al docente di sostegno.
D. L.ivo Norme per la promozione Il decreto aggiorna, riorganizza e razionalizza i provvedimenti
66 del dell'inclusione scolastica vigenti in materia, tenendo conto della nuova prospettiva
13/04/2017 degli studenti con nazionale ed internazionale dell’inclusione scolastica,
disabilità riconosciuta quale identità culturale, educativa e progettuale
del sistema di istruzione e formazione in Italia.
Seconda L. 170/2010 Norme in materia di Tratta della diagnosi del disturbo, della personalizzazione e
Disturbi Specifici di relativa necessità di flessibilità. Riconosce la dislessia, la
Apprendimento in ambito disgrafia, la disortografia e la discalculia quali disturbi
scolastico specifici dell’apprendimento, “che si manifestano in presenza
di capacità cognitive adeguate, in assenza di patologie
neurologiche e di deficit sensoriali, ma [che] possono
costituire una limitazione importante per alcune attività della
vita quotidiana”. Stabilisce inoltre misure educative
e didattiche di supporto (strumenti compensativi e dispensativi). ➤
23
FASCIA NORMATIVA OGGETTO PUNTI CHIAVE
Seconda DM Linee guida per il diritto Fornisce precisazioni sulle lingue straniere, invitando le
5669/2011 allo studio degli alunni e istituzioni scolastiche ad attuare ogni strategia didattica
degli studenti con per consentire agli studenti con DSA l’apprendimento delle
Disturbi Specifici di lingue straniere (valorizzazione delle modalità attraverso
Apprendimento cui il discente meglio può esprimere le sue competenze e
dell’espressione orale, strumenti compensativi e misure
dispensative). “In sede di esami di Stato, conclusivi del
primo e del secondo ciclo di istruzione, modalità e
contenuti delle prove orali – sostitutive delle prove scritte
– sono stabiliti dalle Commissioni, sulla base della
documentazione fornita dai consigli di classe.
I candidati con DSA che superano l’esame di Stato
conseguono il titolo valido per l’iscrizione alla scuola
secondaria di secondo grado ovvero all’università. […]
Solo in casi di particolari gravità del disturbo di
apprendimento, anche in co-morbilità con altri disturbi o
patologie, risultanti dal certificato diagnostico, l’alunno o
lo studente possono – su richiesta delle famiglie e
conseguente approvazione del consiglio di classe – essere
esonerati dall’insegnamento delle lingue straniere e
seguire un percorso didattico differenziato. In sede di
esami di Stato, i candidati con DSA che hanno seguito un
percorso didattico differenziato e sono stati valutati dal
consiglio di classe con l’attribuzione di voti e di un credito
scolastico relativi unicamente allo svolgimento di tale
piano, possono sostenere prove differenziate, coerenti con
il percorso svolto, finalizzate solo al rilascio
dell’attestazione di cui all’art. 13 del DPR n. 323/1998.”
Nota MIUR Diagnosi alunni con DSA Stabilisce che gli alunni e gli studenti con diagnosi di DSA
3573 del precedente all’entrata in redatta anteriormente all’entrata in vigore della Legge 8
26/05/2011 vigore della L. 170/2010 ottobre 2010 n. 170 potranno regolarmente usufruire degli
strumenti compensativi e delle misure dispensative previsti,
sia nella normale attività didattica sia nell’ambito degli Esami
di Stato.
Dir. Min. Strumenti di intervento Delinea e precisa la strategia inclusiva della scuola italiana.
27/2012 per alunni con Bisogni Estende il campo di intervento e di responsabilità di tutta la
Educativi Speciali e comunità educante all’intera area dei Bisogni Educativi
organizzazione Speciali, comprendente: “svantaggio sociale e culturale,
territoriale per disturbi specifici di apprendimento e/o disturbi evolutivi
l’inclusione scolastica specifici, difficoltà derivanti dalla non conoscenza della
cultura e della lingua italiana perché appartenenti a culture
diverse”. Stabilisce la redazione del Piano Didattico
Personalizzato, strumento in cui si potranno includere
“progettazioni didattico-educative calibrate sui livelli
minimi attesi per le competenze in uscita, e strumenti
programmatici utili in maggior misura rispetto a
compensazioni o dispense”.
24
FASCIA NORMATIVA OGGETTO PUNTI CHIAVE
Seconda CM 8/2013 Indicazioni operative Ribadisce il nucleo fondante della Direttiva, aggiungendo che
(esplicativa alunni con BES per gli alunni in possesso di una diagnosi di DSA rilasciata da
della DM una struttura privata, si devono adottare le misure della 170
27/2012) nelle more del rilascio della certificazione da parte di
strutture sanitarie pubbliche o accreditate. Richiama inoltre
l’attenzione sul fatto che ogni alunno può manifestare
Bisogni Educativi Speciali anche in modo temporaneo e che
essi devono essere suffragati da elementi oggettivi. Per gli
alunni stranieri è possibile attivare percorsi individualizzati
e personalizzati, nonché strumenti compensativi e
dispensativi. Rammenta infine che le due ore di
insegnamento della seconda lingua comunitaria nella
secondaria di primo grado possono essere utilizzate per
potenziare l’insegnamento della lingua italiana.
Nota MIUR Strumenti di intervento Richiama l’attenzione sulla distinzione tra ordinarie difficoltà
2563 del per alunni con Bisogni di apprendimento, gravi difficoltà e disturbi di
22/11/2013 Educativi Speciali. apprendimento che hanno carattere permanente e base
Chiarimenti neurobiologica. La scuola può intervenire nella
personalizzazione in tanti modi diversi, informali o
strutturati, secondo i bisogni e la convenienza; pertanto la
rilevazione di una mera difficoltà di apprendimento non
dovrebbe indurre all’attivazione di un percorso specifico con
la conseguente compilazione di un Piano Didattico
Personalizzato.
Terza Dir. Min. Strumenti di intervento Identifica l’area dello svantaggio, e chiarisce la responsabilità
27/2012 per alunni con Bisogni pedagogico-didattica versus delega biomedica: “[o]ve non sia
Educativi Speciali e presente certificazione clinica o diagnosi, il consiglio di
organizzazione classe o il team dei docenti motiveranno opportunamente,
territoriale per verbalizzandole, le decisioni assunte sulla base di ben
l’inclusione scolastica fondate considerazioni pedagogiche e didattiche;
ciò al fine di evitare contenzioso.” (CM 6/03/13).
Vedi sopra.
25
1.3 Bisogni Educativi Speciali: inquadramento scolastico
Per cercare di semplificare quanto attiene ai Bisogni Educativi Speciali, seguono un
paio di tabelle riepilogative circa le varie tipologie, i vari gruppi/organi interessati e gli
adempimenti didattico-burocratici che vedono il coinvolgimento del consiglio di classe
a tutela del diritto allo studio e all’inclusione di tutti gli studenti.
CERTIFICAZIONE Sì No No
DIAGNOSI2 Sì Sì No
2. La diagnosi deve essere a cura delle ASL (o dalle Aziende Ospedaliere e Universitarie e dalle IRCSS, ossia Istituti di Ricovero e Cura a Carattere
Scientifico) o di un medico privato in attesa di quella dell’ente pubblico.
3. Nel caso di alunni con iperattività all’interno di un quadro clinico grave, anche per co-morbilità con altre patologie, può venire assegnato il docente
di sostegno.
4. Qualora sia lieve e non rientri nelle previsioni della L. 104/1992.
26
DSA
Disturbi Specifici
dell’Apprendimento
• Dislessia (disturbo che
impedisce la decodificazione
del testo scritto)
• Disortografia (disturbo
specifico della scrittura che
riguarda l’ortografia)
• Discalculia (disturbo
che riguarda il sistema
numerico e i calcoli)
• Disgrafia (disturbo
specifico della scrittura che
riguarda il tratto grafico)
DOCUMENTAZIONE PEI (Piano Educativo PDP (Piano Didattico PDP (Piano Didattico
DA PRODURRE Individualizzato): Personalizzato): documento Personalizzato): documento non
DA PARTE documento obbligatorio obbligatorio redatto dal obbligatorio ma consigliato
DEL CONSIGLIO (redatto congiuntamente consiglio di classe entro tre redatto dal consiglio di classe
DI CLASSE dalla scuola e dai servizi mesi dalla ricezione della entro tre mesi dalla ricezione di
socio-sanitari che hanno in diagnosi da parte dell’istituto. eventuali relazioni di esperti
carico l’alunno in Include: da parte dell’istituto o dalla
collaborazione con la – la tipologia del disturbo rilevazione dell’area di
famiglia) e parte integrante – le attività didattiche svantaggio. Include:
della programmazione personalizzate – la problematica rilevata
educativo-didattica di classe. – gli strumenti compensativi – le attività didattiche
Le azioni definite nel PEI – le misure dispensative personalizzate
sono coerenti con le – le modalità di verifica e – gli strumenti compensativi
indicazioni espresse nella valutazione personalizzate – le misure dispensative
Diagnosi Funzionale e nel e comprende tutti i supporti e – le modalità di verifica e
Profilo Educativo Funzionale le strategie che possono portare valutazione personalizzate
(documenti predisposti dalla al successo formativo e comprende tutti i supporti e
Neuro-psichiatria Infantile) e dell’alunno. Le azioni in esso le strategie che possono portare
descrivono annualmente: definite devono essere al successo formativo dell’alunno.
– obiettivi educativi e didattici coerenti con le indicazioni Deve tenere conto di eventuali
– metodi e criteri di espresse nella diagnosi relazioni cliniche, di esperti o
valutazione. consegnata alla scuola. educatori consegnate alla scuola.
27
ACRONIMO SIGNIFICATO NORMA FUNZIONE
CTS Centri CM 6/03/13 Interfaccia fra l’Amministrazione e le scuole, e tra le scuole
Territoriali di stesse e rete di supporto al processo di integrazione, allo
Supporto sviluppo professionale dei docenti e alla diffusione delle
migliori pratiche.
CTI Centri L. 35/2012 Definire, per ciascuna istituzione scolastica, “un organico per
Territoriali per l’autonomia, funzionale all’ordinaria attività didattica,
l’Inclusione educativa, amministrativa, tecnica e ausiliaria, alle esigenze
di sviluppo delle eccellenze, di recupero, di integrazione e
sostegno agli alunni con bisogni speciali e di programmazione
dei fabbisogni di personale”. Si occupano anche della
costituzione di reti di scuole, della prevenzione dell’abbandono
scolastico e di contrasto alla dispersione scolastica e formativa
e al bullismo.
GLI Gruppo di Lavoro Istituito dalla Rilevazione dei BES presenti nella scuola, raccolta e
per l’Inclusione L. 104/92 e documentazione degli interventi didattico-educativi posti in
ripreso nella essere; focus/confronto sui casi, consulenza e supporto ai
CM 8/2013 colleghi sulle strategie e metodologie di gestione delle classi;
rilevazione, monitoraggio e valutazione del livello di inclusività
della scuola; raccolta e coordinamento delle proposte formulate
dai singoli GLHI.
GLIP o GLH Gruppo Istituito dalla Il GLIP è composto da operatori della scuola e delle altre
di Lavoro L. 104/92 e Istituzioni che operano sul territorio. Svolge funzioni di
Interistituzionale definito nel consulenza alle scuole per quanto riguarda l’integrazione
e Provinciale DM 216/1992 e promuove la piena attuazione del diritto allo studio.
GLHI o GLIS Gruppo L. 104/92, Consulenza e proposta al Dirigente scolastico regionale e alle
di Lavoro art. 15 singole scuole, collaborazione con enti locali e unità sanitarie
e di Studio locali per la conclusione e la verifica dell’esecuzione degli
d’Istituto accordi di programma per l’impostazione e l’attuazione dei piani
educativi individualizzati, nonché per qualsiasi altra attività
inerente all’integrazione degli alunni in difficoltà di apprendimento.
GLHO Gruppo di Lavoro L. 104/92 Per ogni alunno con disabilità certificata, in genere, viene
per l’Handicap costituita un’equipe di lavoro, composta dal Dirigente scolastico,
Operativo da almeno un rappresentante degli insegnanti di classe,
dall’insegnante specializzato sul sostegno, dall’assistente
educatore eventualmente presente, dagli operatori della ASL o
ente privato convenzionato che si occupano del caso, dai genitori
o dai facenti funzione e da qualunque altra figura significativa che
operi nei confronti dell’alunno. Per esercitare le sue funzioni di
competenza, il gruppo elabora il Profilo Dinamico Funzionale e
formula il Piano Educativo Individualizzato.
PAI Piano Istituito dalla Formulare, da parte del GLI, un’ipotesi globale di utilizzo
Annuale per L. 122/2010 funzionale delle risorse specifiche, istituzionali e non, per
l’Inclusività incrementare il livello di inclusività generale della scuola.
È riferito a tutti gli alunni con BES e si deve redigere al termine
di ogni anno scolastico.
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2. DISLESSIA, DIDATTICA E INGLESE
1. Cfr. http://www.who.int/classifications/apps/icd/icd10online/
2. Si consiglia la visione del seguente filmato: http://indy100.independent.co.uk/article/this-website-shows-what-its-like-to-
read-when-you-have-dyslexia—bkvKwiQlJW
29
e nella valutazione dell’ordine temporale, fenomeno che spiegherebbe la difficoltà nel
percepire, decodificare o riprodurre i suoni nella giusta posizione.
Per quanto concerne l’apprendimento della lingua inglese, si è sviluppato un filone di
ricerche su studenti di nazionalità diverse che ha messo in luce come, nelle lingue in cui la
dimensione grafica e quella fonetica è “trasparente”3, l’incidenza delle difficoltà
fonologiche derivanti dalla dislessia sia inferiore.
Secondo tali ricerche, tre fattori principali concorrono allo sviluppo delle attività di
lettura. Il primo è costituito dalla disponibilità di diverse unità fonologiche pre-esistenti
alla lettura; il secondo è rappresentato dalla coerenza nelle associazioni tra dimensione
fonetica e dimensione grafica; il terzo è la granularity, per cui il numero di unità
ortografiche da imparare è maggiore del numero di unità fonologiche utilizzate. Un
sistema viene considerato completamente trasparente quando a ogni suono corrisponde
un segno, cioè, nei sistemi cosiddetti alfabetici, quando a ogni fonema corrisponde una
lettera (rapporto 1:1). Il grado di trasparenza si riduce quando la trascrizione ortografica
di un fonema richiede più di una lettera e il rapporto fra fonemi e lettere non è più 1:1,
ma diventa 1:2, come, per esempio, per il fonema che si riproduce con 2 lettere (il
digramma GN in italiano, per esempio). Questa differenza di “granularità” dipende dalla
difformità fra il numero di fonemi di una lingua e il numero di lettere di ciascun alfabeto.
Per esempio, per l’italiano ci sono circa 30 fonemi, che devono essere trascritti con 21
lettere, anche se nella pratica sono utilizzate altre 5 lettere di origine non-latina (j, k, w,
x, y). Il grado di trasparenza non può quindi essere perfetto perché il numero di lettere
dovrebbe essere uguale a quello dei fonemi, tuttavia non c’è paragone con la lingua
inglese: la regolarità dell’italiano è notevolmente maggiore di quella della lingua inglese,
che ha circa 44 fonemi, ma solo 26 lettere a disposizione per la loro trascrizione.
Sulla base di questo criterio, è stata costruita la teoria della dimensione della granularità
in base alla quale:
• nei sistemi ortografici ad alta regolarità la scrittura viene acquisita in tempi più rapidi;
• nei sistemi regolari la didattica di insegnamento della lettura e della scrittura più consona è
quella sillabico/alfabetica, in quanto la segmentazione e la fusione fonemica risultano
molto facili e si prestano a una transcodifica assemblativa (il metodo fonico-sillabico);
• nei sistemi regolari sia la lettura sia la scrittura vengono acquisite in tempi più rapidi
che nei sistemi meno regolari;
• i bambini che imparano con i sistemi regolari commettono meno errori ortografici e di lettura
di quelli che apprendono un sistema ortografico irregolare come quello inglese.
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necessaria per apprendere una seconda lingua, come l’inglese, con divergenze notevoli ma
non omogenee e regolari tra pronuncia e resa grafica.
La letteratura scientifica attesta che le abilità di codifica (produzione in forma scritta e
orale) e decodifica (comprensione di forme scritte e orali) richieste e quelle necessarie per
processare l’aspetto fonologico-ortografico hanno bisogno di una motivazione molto forte che,
nel caso dei dislessici, può essere pregiudicata dal basso livello di successo percepito e che
quindi deve essere accresciuta con stimoli che rendano piacevole un apprendimento così ostico.
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2.3 Qualche suggerimento operativo di facile attuazione
STRUMENTI COMPENSATIVI
• Uso di organizzatori anticipati per gli argomenti complessi, ossia schemi o mappe
• Possibilità di registrare le lezioni per uso personale
• Possibilità di usare il computer o il tablet
• Uso dei programmi di sintesi vocale
• Uso di dizionari elettronici
• Uso di calcolatrice, formulari e tabelle
• Uso di programmi di videoscrittura con correttori automatici
MISURE DISPENSATIVE
• Dispensa dalla lettura ad alta voce
• Dispensa dallo scrivere sotto dettatura
• Dispensa dal prendere appunti
• Dispensa dal copiare dalla lavagna
• Dispensa dalla scrittura alla lavagna
• Dispensa dallo studio mnemonico (es. poesie, forme verbali, sequenze…)
• Dispensa di un eccessivo carico di compiti con riadattamento e riduzione delle pagine
da studiare mantenendo gli stessi obiettivi
VERIFICHE E VALUTAZIONI
• Interrogazioni programmate e/o concordate
• Dispensa dalle prove scritte in lingua straniera
• Prove orali equipollenti in sostituzione delle prove scritte
• Utilizzo di schemi/mappe/formulari durante le verifiche scritte
• Utilizzo di schemi/mappe/formulari durante le verifiche orali
• Valutazione attenta più ai contenuti che alla forma
• Diminuzione del numero di item per esercizio
• Tempi più lunghi nelle verifiche scritte
• Verifiche su porzioni ridotte di programma
• Utilizzo prevalente di domanda a risposta chiusa
• Lettura delle consegne degli esercizi
• Fornitura delle prove su supporto digitalizzato
• Consegne in italiano delle verifiche di lingua straniera
• Peso maggiore delle verifiche orali rispetto alle prove scritte di lingua straniera
• Tempi più lunghi ai fini del recupero
• Possibilità di utilizzare il dizionario bilingue cartaceo o su supporto informatico
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LEZIONI
• Chiarire esplicitamente il piano della lezione e, a ogni passaggio a fase successiva,
ricordare il piano
• Se si usa la LIM o un proiettore, fornire alla fine della lezione i file allo studente
• Prevedere esercizi di discriminazione fonologica (ad esempio distinzione tra fonemi
dell’inglese che in italiano non hanno valore distintivo /n/ e /ŋ/)
• Ricordarsi di spiegare agli studenti che per motivi storici la lingua inglese è molto “opaca”
e quindi…
– Una lettera, diversi fonemi: that’s the problem!
O → 17 fonemi
A → 10 fonemi
E → 9 fonemi
– Una lettera → nessun fonema
gave, castle, subtle
– Un grafema multi-lettera → diversi fonemi
EA → lead, meadow, sea
– Grafemi diversi → uno stesso fonema
Be, chief, key
– Omografi non omofoni
Pear/pair
– Omofoni non omografi
Right, rite, wright, write
Quest’ultimo è un problema per tutti gli apprendenti, non solo per i dislessici.
Sottolineare le difficoltà dovute alla scarsa “trasparenza” della lingua è molto importante,
così come far conoscere agli studenti le seguenti percentuali di errori nella decifrazione
delle parole al termine del primo anno di scolarità nel Regno Unito rispetto agli altri paesi
europei la cui lingua è più “trasparente”:
Regno Unito: 67% – Germania: 7% – Spagna: 6% – Italia: 5%
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Limitarsi infatti ad applicare misure compensative e dispensative in modo meccanico,
senza invece pensare a una didattica inclusiva ad ampio raggio, per poi concludere che
sono gli studenti DSA a non voler vedere applicate le misure o le strategie suggerite, non è
forse la strada migliore da intraprendere per chi ha a cuore i propri studenti.
Sapere di dover svolgere la verifica in modo diverso dagli altri, per esempio, molte volte
spinge gli adolescenti a non avvalersi delle misure compensative e dispensative proposte
perché vengono intese come marcatori di differenza. Usare il tablet o un notebook quando i
compagni usano il foglio protocollo, non è concepito come una strategia strumentale
equiparabile a mettersi gli occhiali se non si vede la lavagna. E queste differenze, seppur
minime, possono avere conseguenze serie per gli apprendenti.
Come osserva Giacomo Stella4: “Alla scuola superiore il problema viene accentuato
dal rifiuto da parte degli studenti di utilizzare strumenti compensativi e misure
dispensative per non essere identificati come ‘diversi’”. Quindi, oltre ai fattori di rischio
di insuccesso, ci sono anche fattori di rischio psicosociale e psicopatologico. “Ci
vorrebbe”, sempre secondo Stella, “una scuola completamente diversa, basata
sull’apprendimento e non sull’insegnamento. Questo significa non valutare unicamente le
risposte alle nozioni, ma far crescere gli studenti agendo sulle loro potenzialità, senza
diversificare chi necessita di computer o di tavola pitagorica da chi non ne ha la
necessità. Inoltre, è necessario un nuovo contratto educativo in cui ciascuno viene
riconosciuto per quello che può dare e superare, almeno alla primaria, l’attuale modello
classificatorio. È importante una scuola senza compiti, ma con attività di potenziamento
e di allenamento diversificate condotte all’interno della scuola, anche se affidate ad
agenzie diverse. Insomma, una scuola amica che consideri l’apprendimento
un’opportunità per tutti e non una punizione per alcuni.”
Chi vive quotidianamente la realtà scolastica, che si sa essere fatta non solo di didattica
ma anche di burocrazia, edilizia, sicurezza, arredi e programmazioni talvolta eccessivi e/o
inadeguati, potrà considerare quanto sopra utopico, se non la solita aria fritta, ma, come si
spera di poter dimostrare con alcuni esempi, basta estendere alcuni accorgimenti a tutta la
classe per creare un ambiente inclusivo a costo zero.
La dislessia, da “problema” che affatica la vita dei docenti e la riempie di ulteriori e
lunghi documenti e doppi lavori, che stigmatizza gli studenti in “diversi” e “difficili”, può
trasformarsi in “opportunità”, occasione di dare una svolta al proprio metodo di
insegnamento, riuscendo finalmente a trasformare la propria didattica, talvolta cattedratica,
monodiscente e frontale, in una didattica più personalizzata, ricca e coinvolgente, a misura
di ogni studente.
Gli accorgimenti che seguono tengono anche conto delle differenze tra le difficoltà di
apprendimento nella scuola primaria e in adolescenza, momento nel quale il problema è
4. Professore ordinario di Psicologia clinica all’Università di Modena e Reggio Emilia, fondatore dell’Associazione Italiana
Dislessia, membro del comitato tecnico-scientifico per l’attuazione della legge 170 e del comitato promotore per il panel di
aggiornamento e revisione della Consensus conference sui DSA, direttore scientifico della rete di centri clinici S.O.S. Dislessia
per diagnosi e rieducazione dei DSA e di I.RI.DE, Istituto di Ricerca sulla dislessia evolutiva. Citazione tratta da
http://www.sardegnamedicina.it/content/dislessia-e-dsa-sotto-la-lente-di-giacomo-stella.
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più della memoria di lavoro che non nelle difficoltà di letto-scrittura, ossia la capacità di
mantenere in mente e manipolare le informazioni per un breve periodo di tempo.
Essa è implicata in molteplici attività della vita quotidiana, come farsi la cartella e capire
informazioni stradali, ma anche nell’attività scolastica, come ripetere una parola in una
lingua straniera e memorizzare consegne complesse. Infatti, il recupero delle informazioni
a lungo termine che opera quando l’insegnante spiega e lo studente ascolta oppure legge e
prende appunti, interviene nell’organizzazione del discorso e nella comprensione del testo.
Se si producono enunciati troppo complessi, si sollecita in modo eccessivo la memoria di
lavoro, perché non si riesce a mantenere il collegamento tra l’inizio dell’enunciato e la fine,
il che è necessario al fine dell’apprendimento.
Un esempio molto facile da capire è quello delle indicazioni stradali: “Svolta alla prima
a destra e poi di nuovo a sinistra in corrispondenza del semaforo di fronte alla farmacia,
poi procedi sempre dritto e, dopo aver oltrepassato alla tua destra il tabaccaio, svolta a
destra e in corrispondenza della rotonda…”. Questo tipo di informazione, nella vita reale,
sarebbe interrotta dall’interlocutore con DSA che deciderebbe di chiedere la ripetizione
della sequenza già dalla prima svolta oppure di affidarsi a un navigatore. In classe ciò non
è possibile, ecco quindi che una modalità diversa di trasmettere i contenuti può essere
risolutiva, poiché è il sovraccarico di informazione nella memoria che porta lo studente
DSA a distrarsi e a cancellare anche le poche informazioni trattenute.
Nella scuola, spesso, il problema della memoria di lavoro non viene identificato, ma
attribuito a scarsa attenzione5. Una capacità di memoria di lavoro inefficiente impedisce di
manipolare le informazioni. Una semplice verifica per rendersi conto del problema
potrebbe essere quella di far ripetere in ordine inverso sequenze di numeri o parole. A
sviluppo di memoria terminato, ossia a 15 anni, si dovrebbe essere in grado di ricordare tra
le 5 e le 6 parole dette in sequenza.
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emozionale del soggetto, causato dall’ansia di fronte al compito, può favorire o impedire
l’elaborazione mentale di ciò che sente: in presenza di un filtro affettivo attivato non si può
avere acquisizione, ma solo apprendimento.
Le modalità e l’intensità attraverso le quali il filtro agisce sull’apprendimento del
soggetto dipendono dalle sue caratteristiche personali, ma anche e, in alcuni casi
soprattutto, da come l’ambiente è in grado di “leggere” e di soddisfare le sue motivazioni
profonde in relazione ai contenuti da apprendere, e di come questo possa procurare al
soggetto benessere emozionale, in quanto “lo stato mentale rilassato dello studente […]
aumenta la recettività verso la nuova materia”6.
La soluzione dunque è quella di non far innescare tale filtro affettivo, solitamente
attivato da:
• stati di ansia: ad esempio, un dettato autocorretto non è ansiogeno, ma solo una sfida
con se stessi, mentre un dettato che poi viene corretto dall’insegnante crea ansia;
• attività che pongono a rischio l’immagine di sé che lo studente vuole offrire al resto
della classe: ad esempio, chiedere a uno studente di parlare o dialogare in lingua
straniera prima che egli si senta sicuro di riuscirci;
• attività che minano l’autostima: per esempio, la procedura cloze (tecniche di incastro),
gli esercizi in cui occorre rimettere in ordine le parole e gli esercizi in cui si deve trovare
un sinonimo sono attività che pongono lo studente di fronte alla propria capacità di
problem solving, che può parere inadeguata;
• attività che provocano la sensazione di non essere in grado di apprendere: ad
esempio, le attività di comprensione che aprono un’unità d’apprendimento devono
facilitare al massimo il primo contatto con un nuovo testo in lingua straniera,
evitando l’inserimento del filtro affettivo7. Un accorgimento quindi potrebbe essere
quello di scegliere testi di questo tipo in modo da alzare il livello di autostima.
Quanto elencato non si riferisce esclusivamente a studenti con BES, si può dunque
facilmente cogliere come la dislessia possa concorrere a moltiplicare gli stati d’ansia di
fronte a una qualsiasi attività di apprendimento.
La chiave è, forse, aiutare chi la dislessia non ce l’ha, ossia rendere i docenti
consapevoli che la didattica trasmissiva e gli esercizi di cui sopra escludono e non
includono, e spingerli a chiedersi se abbassare il filtro affettivo non giovi a tutta la classe e
non solo ai dislessici.
Accorgimento 2: multisensorialità
Come già accennato, occorre puntare sulla motivazione e su strategie didattiche
appropriate, come l’approccio multisensoriale, per esempio, il cui principio fondante è che
“gli studenti percepiscono l’input linguistico mediante il ricorso a più di un canale
6. Cfr. P. E. Balboni, Le sfide di Babele. Insegnare le lingue nelle società complesse, UTET, 2012, p. 39.
7. Ibidem, p. 40.
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sensoriale, facendo sì che si realizzi simultaneamente un’elaborazione visiva, uditiva, e
tattile-cinestetica dell’informazione”8.
Scrivere e pronunciare le nuove parole sollecitando l’associazione a un simbolo visivo,
compitare le parole ad alta voce, far percepire che quando si pronuncia la lettera “h” in
inglese si emette dell’aria (espirazione) che ad esempio sposta una pallina di carta che
l’insegnante tiene in mano, aiuta ad associare struttura grafica, pronuncia e significato della
parole.
Trasformare la classe in un laboratorio multisensoriale o poter disporre di un laboratorio
linguistico sarebbe l’optimum, ma, partendo da ipotesi più realistiche e cioè che non sia
possibile accedere ad un siffatto laboratorio, che non vi sia una LIM in classe, né un
proiettore collegato a un computer, si può chiedere agli studenti di portare i loro apparecchi
in base alla nota strategia BYOD (Bring Your Own Device) oppure almeno reperire delle
casse per il PC d’aula.
8. P. Aiello et alii, “Dislessia e complessità didattica della lingua inglese nei contesti scolastici italiani: proposta di un approccio
multisensoriale ed interattivo” in Italian Journal of Special Education for Inclusion, anno I, n. 2, 2013, p. 113.
37
• raccontare le difficoltà che avevano a scuola letterati di primo piano, e, soprattutto,
raccontare le proprie difficoltà di quando eravate voi gli studenti
• non aver paura di usare l’italiano per attirare l’attenzione: se gli studenti non capiscono,
si distraggono, pensano che l’inglese sia troppo difficile e assumono atteggiamenti
rinunciatari
• usare colori per le parole chiave
• usare lo stampatello e chiedere se capiscono, o scusarsi per la propria brutta grafia sono
strategie che non costano niente e migliorano la relazione tra docenti e studenti,
permettendo agli alunni dislessici di capire le parole meglio senza rivolgersi al
compagno di banco
• sorridere, chiedere agli studenti come stanno, come si sentono, soprattutto se ci si rende
conto che è successo qualcosa che li ha rattristati o agitati nell’ora precedente e
rinunciare a spiegare quello che ci si era prefissi o a interrogare o a svolgere la verifica
scritta è un esempio di flessibilità che influisce molto positivamente sull’aspetto
emotivo-motivazionale, perché gli studenti associano inevitabilmente il docente alla
materia e se il docente li considera persone e non secchi da riempire – per citare la
celebre metafora di Yeats9 – la fiamma prima o poi si accenderà
• lodarli: gli insegnanti madrelingua dicono continuamente “good” o “excellent”: è una
buona tecnica motivazionale
• mimate: mettetevi sotto la cattedra se dovete spiegare “under”o fate cadere una biro per
spiegare “to drop”: oltre a catturare la loro attenzione innescherete un altro canale di
riconoscimento del nuovo vocabolo.
Liberate la vostra fantasia: in fondo le indicazioni nazionali stesse sottolineano
l’importanza di programmare un’azione educativa che tenga in considerazione
principalmente le risorse dell’individuo, puntando su un’accoglienza educativa che gli
permetta di affrontare con serenità le attività richieste.
9. “Education is not the filling of a pail, but the lighting of a fire”, W.B. Yeats.
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L’importante è sempre chiarire perché si deve svolgere un determinato esercizio e che
cosa si impara facendolo: se l’insegnante sa dove deve andare, gli alunni lo seguono, ma in
coppia o in gruppo è più divertente.
Il metodo principe per quanto riguarda l’apprendimento cooperativo formale e
strutturato, molto differente quindi dall’approccio grammatico-traduttivo, è il cooperative
learning, ispirato alle teorie costruttiviste e alla teoria della valutazione autentica. Per
quanto riguarda la didattica delle lingue straniere, l’approccio di Spencer Kagan10 ha il
vantaggio di essere di facile implementazione e di non richiedere una lunga progettazione
preparatoria.
Nell’interazione “a stella”, tipica della lezione frontale, al centro vi è sempre
l’insegnante, mentre nelle attività di apprendimento cooperativo l’interazione è reticolare e
coinvolge tutti gli allievi in modo olistico senza essere mediata dal docente.
Nell’interazione “a stella” gli alunni considerano importante solo il parlato di quest’ultimo
e si sentono esonerati dall’ascoltare i compagni11. L’attività didattica suddivisa in momenti
di spiegazione e interrogazione instaura un rapporto solitario, a due, tra alunni e
insegnante, che alza il livello del filtro affettivo. L’interrogazione, tipico esempio di
conversazione diseguale, è un unicum italiano che causa noia e distrazione, soprattutto nel
caso delle interrogazioni cosiddette “programmate”, negative soprattutto
nell’apprendimento di una lingua straniera, in particolare nel caso di alunni dislessici che
necessitano di sistematicità e non possono affrontare molte pagine di contenuti tutte
insieme, anche se, ovviamente, devono sapere quando e su che cosa saranno interrogati.
10. S. Kagan, L’apprendimento cooperativo: l’approccio strutturale, Edizioni Lavoro, 2000, Roma.
11. C. Lavinio, Comunicazione e Linguaggi disciplinari, Carocci, Milano, 2006, p. 190.
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sono utili per ripassare il lessico e alcune regole grammaticali. O, ancora, si possono
realizzare dei poster… per esempio dal titolo “Attenti a quei due” per elementi
grammaticali o lessicali a confronto e soggetti a interferenze o “Usare solo in caso
di necessità” (ma la creatività degli studenti sarà certamente più accattivante),
oppure conseguenze temporali con traduzione a fianco per ricordare la differenza
di uso tra L1 e L2…
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mappa sia effettivamente utile: la riduzione del numero di informazioni e della complessità
visiva e l’aumento del valore informativo del singolo nodo. Alcuni esempi sono:
‘IperMAPPE’ (studiato appositamente per gli apprendenti dislessici), ‘cmap’, ‘XMind’, e
‘Mindomo’ (quest’ultima applicazione presenta anche la possibilità di collaborazione in
tempo reale poiché più utenti possono lavorare contemporaneamente sulla stessa mappa).
Tali mappe possono anche essere integrate da altre applicazioni o piattaforme eLearning
(Moodle, Blackboard, Desire2Learn, Clever, itslearning).
In ogni caso, le mappe non si devono improvvisare e bisogna imparare a costruirle e a
farle costruire, altrimenti si rischia di ottenere esiti opposti che confondono gli studenti. Le
mappe non devono essere ricche, ma essenziali e con chiare relazioni. I ragazzi con DSA
tendono a perdersi quando devono preparare un’argomentazione, sia scritta sia orale, a
causa delle difficoltà che hanno nei processi di automatizzazione delle informazioni. La
mappa aiuta a minimizzare i punti deboli dello studente, compensando la lentezza nella
lettura, la stanchezza nella lezione, la disorganizzazione e la struttura sintattica
esclusivamente paratattica, a patto che:
• si eviti la prima progettazione a mano libera da parte dello studente: la dislessia severa
rende arduo individuare nel testo le parole grafiche, la memoria a breve termine fa
dimenticare i collegamenti, la disgrafia rende incomprensibile la rilettura
• si faccia utilizzare il PC con sintesi vocale guidandoli nell’uso, non delegando al PC ciò
che è peculiare del docente
• si forniscano le mappe nel caso di contenuti complessi di genere storico-letterario
ricordandosi di individuare i nodi e i concetti associati, assegnando loro etichette
significative (parole-concetto)
• si individuino i collegamenti (anche quelli che al docente paiono scontati) e si
assegnino le parole-collegamento
• si facciano svolgere attività di preparazione alla costruzione delle mappe come, per
esempio, imparare a scegliere il significato in base al contesto o saper ricavare
informazioni dagli espedienti grafici dei libri di testo, dai mediatori iconici, dalle
fotografie e dai titoli dei paragrafi.
41
a casa e lo correda di una traccia per creare aspettative e focalizzare l’attenzione su
determinati argomenti. L’insegnante potrebbe quindi, per esempio, dare come consegna
di leggere il titolo e individuare l’argomento centrale del titolo e i sotto-argomenti;
fornire un glossario evidenziando prima le parole più difficili che si troveranno nel testo;
suggerire di gerarchizzare le informazioni utilizzando le congiunzioni, dopo aver fornito
una tabella con i linking signals; o ancora usare colori diversi per far ricordare meglio le
informazioni più importanti e le parole chiave.
La seconda parte del lavoro avviene invece in classe dove l’insegnante si troverà
(almeno dal punto di vista teorico) un gruppo di studenti già preparato e, a detta dei
sostenitori, finalmente omogeneo ed “allineato”12. Nella terza parte c’è un momento di
recupero e sistematizzazione delle informazioni e una simulazione di verifica.
In sintesi:
SÌ NO
Ridondanza (riutilizzo in vari contesti dei medesimi vocaboli) Uso di sinonimi
Multisensorialità (vari linguaggi: paraverbali, iconici, uditivi) Metodo ‘talk and chalk’
Input segmentato Assegnazione di contenuti
(tempi più lunghi e compiti scorporati in più fasi) da studiare “da pagina a pagina”
Input sistematico Scarso rinforzo, digressioni,
(schemi di riferimento e ricapitolazioni) pianificazione disordinata della lezione
Input ludico Assegnazione di elenchi di vocaboli
o verbi da sapere a memoria
Usare organizzatori anticipati: schemi, tabelle, mappe con uso Non dare come consegna la rilettura
di colori diversi per gerarchizzare le informazioni, le desinenze, di argomenti nuovi o poco chiari
l’ordine delle parole che devono imparare e controllare
l’aggiornamento sistematico del quaderno compensativo
12. In realtà non è proprio così, perché dipende dall’ambiente di apprendimento domestico e dalla possibilità di
consultare il materiale o di farsi aiutare, ma è un tentativo che val la pena fare.
42
3. DIDATTICA INCLUSIVA E RESILIENZA
1. Cfr. AA. VV., Dislessia e altri DSA a scuola. Strategie efficaci per insegnanti, Erickson, Trento 2013, p. 79.
43
Il primo passo per diventare un docente inclusivo è l’analisi dei prerequisiti degli
studenti. Dando per scontato che il docente debba credere egli stesso nell’inclusione
perché possa riuscire a realizzarla, per quanto riguarda i discenti occorre conoscere il
retroterra scolastico di ogni alunno dislessico per capire se vi sia stata una presa in carico
tempestiva o meno e capire le specifiche difficoltà di ciascuno. Le differenze soggettive,
come già chiarito, sono infatti essenziali per la scelta adeguata degli strumenti
compensativi da adottare.
Alcuni studenti incontrano difficoltà nella comprensione del testo e quindi la sintesi
vocale o l’uso di programmi di video-scrittura con correttore ortografico bastano da un
punto di vista legale, ma potrebbero non essere sufficienti da un punto di vista
didattico. Il computer funziona solo se l’alunno lo sa usare bene, sapendolo adattare
alle proprie esigenze di studio, tuttavia difficilmente gli studenti dislessici sono
dattilografi provetti che conoscono perfettamente i programmi di video-scrittura, pur
essendo molto veloci nello scaricare film e musica o interagire sui social network.
Inoltre, raramente gli studenti sanno filtrare le fonti, se non glielo si insegna a scuola,
per cui le teorie sconclusionate di un blogger qualsiasi spesso sono considerate alla pari
di quelle di accademici di fama. Occorre dunque insegnare loro la differenza, così come
è necessario spiegare il divario culturale e di affidabilità che corre tra l’enciclopedia
Treccani online, ad esempio, e Wikipedia, nonché informarli sull’esistenza di Google
Scholar e scoraggiarli, invece, dall’utilizzare Google traduttore, dato che traduce “tu sei”
con “you six”2!
Più che affidarsi unicamente a strumenti digitali, è invece essenziale potenziare le
capacità di ascolto degli alunni dislessici e rafforzare le loro relazioni sociali, così come
la competenza sociale di saper chiedere aiuto è una competenza che molti studenti
devono ancora apprendere: un progetto di autonomia non significa infatti imparare a
fare a meno degli altri, ma significa imparare a chiedere aiuto e a ringraziare per averlo
ricevuto3.
Il PC non basta se il modello di lezione è quello trasmissivo in cui il docente parla e
scrive date e nomi alla lavagna in corsivo! Forse adottare strategie è più opportuno che
adottare tecnologie, come suggerito dalla seguente tabella4:
2. Un sistema infallibile è, per esempio, quello di prendere un testo autentico, letterario o giornalistico, che loro conoscono e
farlo tradurre da Google traduttore, mettendo a fronte la traduzione di un anglista.
3. Cfr. F. Fogarolo, “Tecnologie per compensare la dislessia: che cosa fare perché siano efficaci” e E. Ghidoni, D. Angelini,
“La dislessia negli adolescenti e negli adulti”, in La Dislessia e i Disturbi specifici dell’Apprendimento, in Annali della
Pubblica istruzione 2/2010.
4. Vedi F. Fogarolo, op. cit., p. 111.
44
STRATEGIE COMPENSATIVE TECNOLOGIE COMPENSATIVE
Vengono spesso acquisite, e anche individuate, Almeno all’inizio, l’intervento degli adulti è
autonomamente dagli alunni. indispensabile.
Raramente hanno controindicazioni. Possono Le tecnologie mal somministrate possono essere
essere più o meno efficaci ma è molto raro che seriamente controproducenti: calo di motivazione
possano essere considerate dannose. e autostima, netta diversificazione dalla classe,
complicazione operativa, allungamento dei tempi…
Spesso le strategie sono utili a tutti i ragazzi e L’uso delle tecnologie usate in funzione
quindi possono essere proposte a tutta la classe. compensativa è davvero conveniente solo in
Non hanno alcuna caratteristica stigmatizzante presenza di un serio disturbo; per gli altri alunni
e vengono accettate molto più facilmente dagli sarebbero un’inutile complicazione in più.
alunni con problemi di vario tipo. Problemi di rifiuto e/o accettazione sono molto
frequenti.
Le strategie, almeno quelle di base, non hanno Molte tecnologie richiedono prodotti software
costi e possono essere usate con tutti gli alunni distribuiti con licenza unica e che non possono
senza problemi. Questo facilita l’accettazione e la pertanto essere usati da tutti i compagni.
condivisione.
Possono essere introdotte o suggerite anche in È necessario un percorso di formazione e
modo strutturato o informale, in base ai più addestramento, almeno in certi momenti più
svariati stimoli o suggerimenti educativi. significativi, per acquisire alcune abilità per una
efficace competenza.
5. Cfr. V. Cavioni, M. Lupica Spagnolo, G. Beddia, M. A. Zanetti, “Promuovere la resilienza a scuola. Un curricolo europeo per
docenti e studenti”, in Psicologia e Scuola, maggio-giugno 2015.
45
In ambito anglofono, associato alla resilienza si trova il concetto di empowerment,
termine di difficile traduzione perché sintetizza in una parola la capacità di padroneggiare
una situazione e la consapevolezza di avere il potere di influire sull’ambiente grazie alle
proprie competenze in quel determinato ambito. Secondo questo approccio, gli indicatori
dell’empowerment personale sono principalmente fondati sulla capacità di controllo
personale e di autonomia e rimandano ai concetti di auto-apprezzamento/valutazione delle
competenze e alla stima di sé. Per questo concetto, i ricercatori canadesi francofoni usano
il termine habilitation (accrescimento dell’abilità)6. Al di là della questione terminologica, a
scuola interessano gli aspetti operativi delle componenti dell’empowerment, identificate
dagli studiosi Zimmerman, Bandura e Mechanic7:
1. attribuzione di causalità interna
2. percezione di auto-efficacia
3. speranza appresa (traduzione di learned hopefulness)
4. pensiero positivo operativo.
Si potrebbe obiettare, ironicamente, “Vasto programma!”. In classe, però, gli studenti
trascorrono parecchie ore e quindi ci sarebbe il tempo per tentare di far sviluppare tali
atteggiamenti nei confronti delle difficoltà scolastiche.
Nel caso del fattore uno – ossia l’attribuzione di causalità interna –, è tipico di alcuni
adolescenti attribuire i risultati delle proprie azioni e dei propri risultati scolastici negativi
all’insegnante del momento, al sistema scolastico, al libro di testo, agli insegnanti degli
ordini di scuola precedenti, ossia a forze esterne e indipendenti dai propri comportamenti.
Nei confronti dell’inglese, l’atteggiamento di alcuni studenti dislessici è rinunciatario
perché esso è da sempre fonte di frustrazione e diminuzione del livello di auto-stima. Altri
adolescenti, invece, come meccanismo di difesa, per non riconoscere che c’è qualcosa che
non va, si attribuiscono tutte le responsabilità: “non lo imparo perché non ho voglia di
studiarlo”, “mi annoia”, “non mi va”. Anche questo è un modo per reagire allo stress
causato dall’insuccesso scolastico, è una strategia di coping, ossia un processo di
adattamento, uno sforzo cognitivo e comportamentale per far fronte a una difficoltà, al fine
di ridurre la minaccia che stressa l’individuo. Meglio dire di non aver voglia di studiare,
meglio convincersi che il problema è la mancanza di volontà, piuttosto che chiedere aiuto e
riconoscere che c’è un problema. Questo atteggiamento è anche influenzato
dall’egocentrismo dell’adolescente oppure dal meccanismo psicologico della profezia che si
auto-avvera (self-fulfilling prophecy) per cui l’individuo mette in atto comportamenti atti a
provocare ciò che egli teme.
Per rispondere a ciò in modo positivo, si può cominciare con il chiedere agli studenti
dislessici due parole che associano all’inglese: purtroppo, si sentiranno risposte molto
negative, sempre collegate alla materia scolastica e mai alla lingua in cui sono cantate la
maggior parte delle canzoni che ascoltano o in cui sono scritte quasi tutte le frasi delle
magliette che indossano. Partire da questa considerazione e insegnare loro ad associare
6. Cfr. E. Malaguti, “Articolazioni teoriche della resilienza”, in B. Cyrulnik, E. Malaguti, Costruire la resilienza, Erickson, Trento
2015.
7. Ibidem.
46
immagini positive all’inglese può essere un modo per farli riflettere sul fatto che
l’atteggiamento negativo condiziona i risultati.
Per quanto riguarda il punto due, ossia la percezione di auto-efficacia, occorre far
riflettere questi studenti su che cosa intendano per imparare l’inglese e far loro capire che
sanno già fare molte cose con questa lingua, ma che le sottovalutano, perché hanno
deciso di concentrarsi su altre materie, dato che l’inglese “tanto è troppo difficile”, “si
scrive in un modo e si legge in un altro”, “non ci sono regole fisse”, ecc. Una strategia
vincente per l’auto-efficacia è spiegare perché l’inglese è così, fare esercizi di
consapevolezza fonologia e scoprire che una logica c’è, suddividendo ad esempio le
parole in gruppi fonologici, evidenziandoli con colori diversi per ricordarsi che tutte
corrispondono a un suono preciso:
• cat, sat, bat…
• but, duck, mug…
• see, bee, teen…
• food, soon, moon…
8. Al link http://www.tefltunes.com/grammarsongs.aspx si può trovare una tabella indicante, per ogni testo verbale, quale
canzone potrebbe essere utile e il link relativo al testo.
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inventando esercizi collegati ad esse? Qualsiasi occasione di protagonismo (spesso anche
proposta dagli stessi studenti) non può che motivare e lavorare nella giusta direzione.
Per concludere: l’alunno dislessico non può diventare resiliente da solo, la comunità
educante tutta, le associazioni, le istituzioni sul territorio devono interagire per aiutarlo, ma
anche la didattica spicciola e il singolo docente possono fare molto e ciò migliorerà
l’ambiente di apprendimento e avrà risultati positivi su tutti gli studenti. Val la pena quindi
di pensare a una rilettura in chiave di empowerment delle misure compensative e
dispensative per un Piano Glottodidattico Resiliente:
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12. Insegnare a tutti a tenere un diario di bordo è fondamentale. Lo studente migliore non
è mai il più intelligente o il più creativo, bensì il meglio organizzato. Alcuni, anche se
non sono dislessici, non riescono a scrivere i compiti e le date delle verifiche sul
diario perché i docenti le dettano troppo velocemente. Scrivere sempre sulla lavagna
la data e l’argomento della lezione, suddividendola nelle varie sezioni è, per esempio,
uno dei modi per aiutare a compilare un diario di bordo
13. Suddividere spiegazioni e verifiche in porzioni idonee. Non serve rispettare sempre e
comunque la scansione del libro di testo, è più efficace adattare il testo alle esigenze
della propria classe. Un’unità di apprendimento si suddivide in unità didattiche, ma
non è detto che le varie sezioni strutturate per uno studente immaginario funzionino
a livello pratico. In fondo, il programma non esiste più: esistono gli studenti e le loro
esigenze formative che non sono mai omogenee
14. Coinvolgere lo studente dislessico nella redazione del PDP, di cui è il protagonista, in
questo modo diventerà sempre più consapevole delle proprie modalità di
“funzionamento” e si sentirà parte attiva del processo.
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4. ALTRI TIPI DI BISOGNI EDUCATIVI
50
Come fare dunque a identificarli? In genere tali alunni condividono alcune o tutte le
seguenti caratteristiche:
• sono lettori avidi
• hanno senso dell’umorismo
• dimostrano curiosità intellettuale prolungata nel tempo su alcuni argomenti
• si esprimono con notevole proprietà di linguaggio
• operano collegamenti originali
• amano le attività di problem solving e i giochi enigmistici
• hanno un’immaginazione particolarmente vivida
• sono interessati all’equità e alla giustizia
• si annoiano facilmente
• preferiscono la compagnia di persone adulte
• tendono a mettere in discussione l’autorità
• sono abili con i numeri
• sono molto creativi
• sono molto sensibili e dimostrano empatia per chi ha subito un torto o è in difficoltà
• sono particolarmente vulnerabili a livello emotivo
• hanno acquisito le abilità di letto-scrittura precocemente.
Che cosa fare quindi, quando si ha la fortuna di avere alunni con queste caratteristiche
intellettive? Coltivare il talento di ciascuno. Sembra uno slogan, difficilmente applicabile
nella prassi, ma, soprattutto nell’insegnamento della lingua straniera, sperimentare e
individualizzare è facile e possibile.
Supponiamo di dover affrontare un’unità didattica su Il mercante di Venezia nell’ambito
di un’unità di apprendimento su Shakespeare. Si potrebbe ipotizzare di partire dal
monologo di Shylock e chiedere agli studenti di cercare su YouTube i vari contributi
presenti. A ciascuno poi si potrebbero assegnare compiti differenziati: distinguere tra le
rappresentazioni degli attori professionisti e quelle dei dilettanti, classificare le sequenze
tratte dalle riduzioni cinematografiche, chiedersi come mai tale monologo è così famoso e
così rappresentato anche a livello di recite scolastiche e provare a dare più risposte. Agli
alunni “gifted” si potrebbe chiedere, invece, di capire come mai il monologo di Shylock è
allo stesso tempo sublime e pericoloso, qual è il rapporto con il denaro dei veneziani così
ben rappresentato da Shakespeare, di spiegare perché i critici hanno accostato quest’opera
a Il Timone d’Atene e sostenuto che Shakespeare ha anticipato Marx, in che modo nella
Germania nazista è stato rappresentato Il Mercante di Venezia, oppure di individuare gli
errori di traduzione nel doppiaggio e nei sottotitoli in italiano nella riduzione
cinematografica più famosa, quella del 2004 in cui Shylock è interpretato da Al Pacino
diretto da Michael Radford. Gli studenti in cui il pensiero divergente è meno sviluppato, ma
che possiedono buona memoria, potrebbero imparare a memoria il monologo e recitarlo.
In generale, quando si assegnano attività di problem solving, vi è una fase che riguarda
la produzione delle idee che si chiama “fase divergente”, in cui alcuni allievi sono più
versati, e una “fase convergente”, in cui si selezionano le idee. Gli alunni “gifted” hanno
bisogno di compiti sfidanti, che stimolino la loro curiosità intellettuale e mettano in gioco il
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pensiero divergente. Si può chiedere loro di confrontare due traduzioni di due brani di
narrativa tratti da un classico della letteratura o due poesie, oppure di rispondere a
domande aperte che richiedano capacità argomentative e di ricerca delle informazioni
particolarmente impegnative.
Ad esempio, se si propone l’analisi di una recensione cinematografica oltre alle solite
domande di comprensione del testo e a quelle sulle caratteristiche testuali della recensione,
sul contenuto, sull’opinione del critico, e su quale tipo di film preferiscano gli studenti, si
può chiedere, a livello facoltativo, di scoprire se vi siano tycoon donne, in quale romanzo
Fitzgerald tratta dei magnati hollywoodiani, di approfondire la storia della censura a
Hollywood. A questo punto si potrebbero ulteriormente differenziare i compiti: ad alcuni si
chiede di scoprire perché nei film degli anni Cinquanta anche le coppie sposate venivano
rappresentate sempre in stanze con letti gemelli, ai “gifted” di scrivere una relazione sulla
censura a Hollywood durante il Maccartismo; ad altri di scoprire esempi di product
placement (pubblicità indiretta) nei film di James Bond; ai “gifted” di studiare la questione
dal punto di vista giuridico. Esistono contratti in cui una casa di produzione “vende” un
certo numero di inquadrature dell’acqua minerale San Pellegrino? Quali termini del
linguaggio settoriale giuridico vengono usati in questi contesti?
Se si affronta una lettura tratta da un qualsiasi quality paper britannico, si potrebbe
assegnare loro il compito di esaminare molto attentamente il paratesto e poi di confrontarlo
con un’altra testata britannica e, successivamente, con una testata statunitense e italiana,
oltre alle usuali domande di comprensione del testo.
Per quanto riguarda l’aspetto grammaticale, quando si spiega used to, per esempio, si
può chiedere loro di scoprire che cos’è il would iterativo e di scrivere degli esempi. Oppure
quando si trattano i verbi fraseologici chiedere di analizzare e tradurre in italiano frasi
come He drank himself into the hospital, In 1931 England was forced off the gold standard,
o The rain washed out the match.
In conclusione, la creatività, il senso critico e l’empatia sono doti con cui si nasce, sta
all’insegnante cercare di farle venire fuori e, ciò che più conta, è che spesso esse non sono
così limitate. Compito dei docenti è quindi insegnare a chi le possiede a mettersi in
relazione in modo positivo con gli altri, a conoscere i propri punti di forza ma anche quelli
deboli, a gestire lo stress e le emozioni, creando un ambiente di apprendimento in cui tutti
si impegnano per risolvere un problema contribuendo con le proprie capacità e
collaborando. L’importante è far capire che tutti contano e sono utili: chi riesce a trovare
soluzioni originali ma magari è disordinato sarà aiutato da chi è meno creativo ma più
sistematico. Poiché ormai è scientificamente accertato che le intelligenze sono multiple e
gli stili di apprendimento sono diversi, un insegnante inclusivo dovrebbe cercare di far star
bene in classe sia il timido insicuro di sé, sia l’estroverso creativo che si spazientisce se ci
sono esercizi ripetitivi.
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5. SUGGERIMENTI E MODELLI PER LA VALUTAZIONE
53
cartaceo nella ricerca del lemma e del traducente corretto, lo studente può perdere
tempo sia per problemi nell’individuare il corretto ordine alfabetico sia nell’individuare
il contesto corretto al quale si riferisce il traducente, anche a causa dei caratteri molto
ridotti dei traducenti e delle glosse esplicative dei dizionari in commercio. Qualora,
invece, sia possibile far utilizzare un dizionario on line, il problema non si pone e si può
fornire solo un elenco di linking signals, tipo quello suggerito.
while/whereas
mentre
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Prima di valutare, comunque, ricordiamo sempre che la legge 170 (art. 5, c. 4) parla di
“adeguate forme di verifica e di valutazione”, e pertanto i ragazzi con DSA devono essere
valutati in rapporto alle loro capacità e alle loro difficoltà, senza paura di discostarsi da
come in genere si valuta in classe, ma secondo il principio della personalizzazione. Si deve
tenere conto delle caratteristiche personali del disturbo dell’allievo, del punto di partenza e
dei risultati conseguiti, premiando i progressi e gli sforzi: è importante che l’insegnante
ricordi che la valutazione è un processo di natura psicologica, perché tocca il giudizio che
ciascuno ha di sé, pertanto dovrebbe essere pensata e progettata come un processo per
migliorare i risultati degli studenti e non solo per verificarli.
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Livello B1 – Grammar
56
3. Complete with the participle adjectives of these verbs.
ADJECTIVE + -ED / -ING
0. INTEREST: She’s INTERESTED in old books, she’s just
bought one.
1. TIRE: The journey was ___________________, it lasted
nearly ten hours.
2. EXCITE: I like windsurfing, it’s so ___________________.
3. FRIGHTEN: He was so ___________________ he couldn’t
speak.
4. AMUSE: He’s an ___________________ person. He always
tells jokes and stories.
4. Match the two parts of the sentences and add the correct
relative pronoun to complete them.
THAT – WHAT – WHICH – WHO – WHOSE
1. The film _____________________ ................
2. I’d never met a person ____________________ ................
3. My country house, ____________________ ................
4. Carl, ____________________ ................
5. This is ___________________ ................
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Livello B1 – Reading Comprehension (Istituti Tecnici o Professionali)
Glossary
1. SEASONABILITY = stagionalità
2. FOOTHILLS = colline pedemontane
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2. Now, say whether these statements are true (T) or false (F).
1. Both busy and quiet seasons pose problems for holiday
resorts. _____
2. Tourism develops everywhere. ______
3. Most people like unfamiliar locations. ______
4. Italy, France and Spain are popular destinations in Britain.
______
5. The numbers travelling tend to increase with distance. ______
6. People managing resorts try to attract tourists out of
season. ______
7. Few people like returning to familiar places. ______
8. In winter tourists stay at home. ______
9. People over 50 do not travel abroad. ______
10. Very few people enjoy skiing. ______
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Livello B2 – Production
60
2. What does McKeon complain about?
________________________________________________________
________________________________________________________
________________________________________________________
________________________________________________________
________________________________________________________
________________________________________________________
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Griglia – Domande aperte
Griglia – Essay
62
PROGRAMMAZIONE DIDATTICA
La seguente programmazione didattica vuole essere una guida e un supporto ai docenti
nella scrittura dei piani di lavoro e delle programmazioni di dipartimento. Può essere
facilmente adattata e modificata dal file editabile pubblicato sul sito della casa editrice:
www.edisco.it.
UNIT 1.1 – COMMUNICATION
CONTENUTI
Teoria Lessico Grammatica
• Definizione, scopi ed elementi del processo • Elementi del processo Gli articoli
comunicativo comunicativo determinativo,
• Scopo della comunicazione • Tipi di indeterminativo e zero
• Tipi di comunicazione comunicazione
• Canali di comunicazione • Canali di
• Comunicazione visive e attraverso la musica comunicazione
• Comunicazione subliminale
• Grandi comunicatori
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Risposte a domande • Vero/falso • Descrizione • Creazione
aperte • Risposte a domande di un diagramma di una mappa
• Completamento di un aperte • Commento • Completamento
testo con parole date • Abbinamento di immagini di un’immagine di frasi
• Abbinamento e funzioni • Presentazione • Creazione di una
di termini e definizioni • Domande a risposta dei risultati linea del tempo
• Domande a risposta multipla di una ricerca • Riassunto
multipla • Completamento di tabelle di un testo
COMPETENZE
• Usare terminologia specifica • Saper distinguere vantaggi e svantaggi
• Descrivere le fasi di un processo dei vari canali comunicativi
• Sostenere il proprio punto di vista • Saper scegliere il giusto canale
• Identificare il contesto comunicativo
• Riassumere in poche parole un concetto • Saper identificare probabili fruitori,
• Completare frasi mandanti e messaggi di una comunicazione
• Prendere appunti visiva
• Fare e presentare i risultati di una ricerca • Saper applicare i principi della
• Saper identificare gli elementi e le barriere comunicazione
di un processo comunicativo
• Mappa di unità
• Mappa di modulo
65
UNIT 1.2 – GRAPHIC DESIGN
CONTENUTI
Teoria Lessico Grammatica
• Disegno grafico e competenze del grafico • Il racconto attraverso Le preposizioni
• Scopo e applicazioni del progetto grafico le immagini di tempo, luogo
• Evoluzione e futuro del graphic design: • Le specializzazioni grafiche e moto
la realtà virtuale, aumentata e i digital media • I principi della
• Grandi grafici della storia comunicazione grafica
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Risposte a domande • Risposte a domande • Descrizione • Uso di sinonimi
aperte aperte di competenze • Creazione
• Creazione di una • Abbinamento • Ricerche su origine di una mappa
linea del tempo di immagini e autori di immagini • Corrispondenza
• Creazione di una e funzioni e loghi tra parole e loro
mappa • Domande a risposta definizione
• Completamento multipla • Corrispondenza
di un testo con tra tipi di lavoro
parole date e competenze
COMPETENZE
• Usare terminologia specifica • Sostenere il proprio punto di vista
• Dare una definizione e descrivere le origini • Identificare il contesto
di una professione • Riassumere in poche parole un concetto
• Individuare le competenze di una professione • Prendere appunti
• Identificare gli scopi di una disciplina • Saper raccontare di grandi autori
• Saper declinare l’evoluzione di una disciplina
• Riconoscere l’evoluzione e prevedere
lo sviluppo di una materia
• Mappa di unità
• Mappa di modulo
66
UNIT 2.1 – PSYCHOLOGY
CONTENUTI
Teoria Lessico Grammatica
• Rapporto tra psicologia e marketing • Termini chiave • Tempi presenti
• Sensory e multisensory marketing del marketing
• Shockvertising
• Campagne pubblicitarie che suscitano
empatia, paura, senso di colpa o puntano
sull’empowerment
• Campagne pubblicitarie che usano
immagini di bambini e animali d’affezione
• Grandi strateghi del marketing
internazionale
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Completamento di frasi • Riassunto dei punti • Dialogo • Espressione della
• Domande con risposte principali di un testo confrontandosi propria opinione
aperte • Domande con su opinioni • Traduzione
• Vero/Falso/Non risposte aperte • Analisi • Risposta
dato con correzione • Completamento di un’immagine a domande aperte
dell’errore di frasi giustificando con espressione
• Abbinamenti • Vero/Falso con le proprie della propria
• Correzione di frasi correzione dell’errore affermazioni opinione
COMPETENZE
• Utilizzare terminologia specifica
• Comprendere e fornire informazioni relative a un argomento noto
• Gerarchizzare le informazioni in forma orale e scritta
• Esprimere pareri documentati
• Tradurre mediando tra le due lingue
• Mappa di unità
• Mappa di modulo
67
UNIT 2.2 – WHAT IS MARKETING?
CONTENUTI
Teoria Lessico Grammatica
• Definizione e storia del marketing • Aspetti e fasi • Tempi passati
• Concetti di merce, prezzo, promozione del marketing
• Aspetti sociali del marketing
• Grandi agenzie pubblicitarie e loro strategie
di marketing vincenti
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Domande con • Completamento • Confronto • Espressione della
risposte aperte di frasi e tabelle su opinioni propria opinione
• Completamento • Presentazione • Traduzione
di frasi di una mini-ricerca
• Vero/Falso
con correzione
dell’errore
• Abbinamenti
COMPETENZE
• Utilizzare terminologia specifica
• Comprendere e fornire informazioni relative a un argomento noto
• Gerarchizzare le informazioni in forma orale e scritta
• Esprimere pareri documentati
• Tradurre mediando tra le due lingue
68
UNIT 2.3 – MARKETING APPLICATIONS
CONTENUTI
Teoria Lessico Grammatica
• Brand • Applicazioni • Tempi futuri
• Logo del marketing
• Merchandising (mascotte e gadgets)
• Packaging
• Sponsorship
• Testimonial e influencer
• Product placement
• Storia di alcuni loghi celeberrimi
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Vero/Falso • Domande con • Espressione • Riposte a domande
con correzione risposte aperte di opinioni aperte
dell’errore • Domande con • Narrazione di eventi
• Completamento risposte brevi
di frasi • Completamento
• Domande con di frasi
risposte aperte
• Abbinamenti
COMPETENZE
• Utilizzare terminologia specifica
• Comprendere e fornire informazioni relative a un argomento noto
• Gerarchizzare le informazioni in forma orale e scritta
• Esprimere pareri documentati
• Tradurre mediando tra le due lingue
69
UNIT 3.1 – BASICS
CONTENUTI
Teoria Lessico Grammatica
• Layout: la sua funzione nel graphic design • Caratteri Comparativi
• Typeface: definizione, classificazione e uso • Classificazione e superlativi
• La ruota dei colori di caratteri
• Armonie di colori • Colori primari,
• Pitture, immagini, foto, illustrazioni e clipart secondari e terziari
• I principi della composizione • Diverse sfumature
• Una composizione efficace di colore
• Loghi e etichette
• Caratteri famosi: Helvetica
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Vero/falso • Vero/falso • Abbinamento di • Completamento
• Risposte a domande • Risposte a domande immagini e funzioni di frasi
aperte aperte • Commento • Completamento
• Riassunto • Completamento di un’immagine di tabelle
di un testo di tabelle
COMPETENZE
• Definire attraverso l’uso di una • Saper individuare una composizione efficace
terminologia specifica e saperla riproporre
• Saper individuare le caratteristiche • Saper descrivere un logo nei suoi elementi
dei principali caratteri tipografici essenziali
• Saper individuare i colori primari • Individuare le differenze di diversi tipi
• Saper distinguere tra illustrazioni, di etichette e le loro funzioni
immagini e fotografie • Sostenere il proprio punto di vista
• Saper distinguere e usare mappe, grafici, • Riassumere in poche parole un concetto
infografiche e diagrammi • Prendere appunti
• Mappa di unità
• Mappa di modulo
70
UNIT 3.2 – PAPER
CONTENUTI
Teoria Lessico Grammatica
• Il layout di pagina: definizione e tipologie • L’analisi delle parti Aggettivi,
• Le basi del layout di pagina principali di un layout pronomi
• Volantini, opuscoli, pieghevoli: caratteristiche e usi e le gerarchie visive e avverbi
• Giornali, tabloid e riviste: caratteristiche comuni • I diversi tipi di pubblicità quantificativi
• Il libro e le sue parti su carta: dal volantino
• Il copyright all’opuscolo
• Origini e definizione di fumetti • Libri, riviste e giornali:
• Gli elementi principali dei fumetti nomenclatura e parti
• Manifesti e cartelloni: formati e caratteristiche essenziali
• Manifesti di film famosi: composizione • Parti essenziali di un fumetto
e caratteristiche comuni • Manifesti e cartellonistica
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Risposte a domande aperte • Risposte a • Descrizione • Creazione
• Corrispondenza tra parole domande aperte di caratteristiche di una mappa
e loro definizione • Abbinamento • Ricerche su • Corrispondenza
• Vero o Falso di immagini origine e autori di tra parole e loro
• Creazione di una tabella e funzioni immagini e loghi definizione
riassuntiva • Completamento • Breve analisi
• Creare una linea del tempo di una tabella di un cartellone
• Riempire una griglia • Vero o Falso pubblicitario
COMPETENZE
• Saper definire i diversi tipi e il processo estetico • Saper individuare le parti principali del libro
della composizione su carta • Definire il concetto di diritti d’autore
• Saper usare le gerarchie visive delle regole • Saper descrivere e analizzare gli elementi
compositive del fumetto
• Saper distinguere tra volantini pieghevoli e opuscoli • Individuare le caratteristiche e le differenze
in base alle loro caratteristiche e al loro uso tra manifesti e cartelloni pubblicitari
• Saper riconoscere le caratteristiche comuni • Sostenere il proprio punto di vista
di giornali e riviste • Riassumere in poche parole un concetto
• Saper dare la definizione di tabloid • Prendere appunti
71
UNIT 3.3 – IL LAYOUT DIGITALE
CONTENUTI
Teoria Lessico Grammatica
• Il concetto di Interfaccia digitale • Descrizione dei diversi I pronomi
• Diverse tipologie di interfaccia grafica tipi di interfaccia indefiniti
• La progettazione di un’interfaccia utente • Descrizione dei diversi
• La progettazione grafica sul Web dei siti modi di pubblicità
• La pubblicità via Internet: banner e pop-up on line
• Il layout dei dispositivi mobili • La composizione
• Diverse tipologie di layout per dispositivi mobili per i dispositivi mobili
• Le pubblicità in-app • Il layout delle reti social
• Il layout per i social media e le caratteristiche
• Caratteristiche comuni dei social network • I tipi di icone
• La pubblicità attraverso i social network
• Le grandi icone e lo sviluppo degli emoticon
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Risposte a domande • Abbinamento • Abbinamento • Produzione
aperte di concetti e frasi di definizioni di un testo libero
• Vero o Falso • Completamento e funzioni • Riassumere un testo
di spazi vuoti in • Abbinamento di
un testo definizioni e parole
COMPETENZE
• Saper dare una definizione di interfaccia • Saper descrivere le caratteristiche
grafica di diversi layout per dispositivi mobili
• Individuare le caratteristiche di ciascuna • Saper riconoscere le parti che compongono
interfaccia il layout dei social network
• Saper definire una GUI • Conoscere le origini delle icone e la loro
• Saper riconoscere le caratteristiche trasformazione d’uso
del linguaggio HTML • Sostenere il proprio punto di vista
• Saper parlare dei modelli di siti web • Riassumere in poche parole un concetto
• Riconoscere un banner pubblicitario, un pop-up • Prendere appunti
72
UNIT 4.1 – WHAT IS ADVERTISING?
CONTENUTI
Teoria Lessico Grammatica
• Definizione di pubblicità • I modelli linguistici I pronomi
• Scopi e finalità della pubblicità della pubblicità relativi
• Il modello AIDA e sue integrazioni e l’uso dei modi
• Il consumismo e le origini della pubblicità verbali
• Le ricerche motivazionali e la teoria di Maslow • L’analisi dei bisogni
• Le categorie della pubblicità • L’uso del lessico nelle
• La pubblicità e l’etica: il codice di autoregolamentazione differenti categorie
• Le agenzie pubblicitarie pubblicitarie
• Le campagne pubblicitarie: nazionali, internazionali e globali • Diverse strategie
• La preparazione di una campagna pubblicitaria di marketing
• L’uso dei canali comunicativi • Utilizzo delle
• Le diverse strategie di marketing diverse forme di
• Campagne pubblicitarie che hanno fatto la storia della pubblicità canali pubblicitari
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Vero/falso • Vero/falso • Identificazione • Descrizione di immagini
• Risposte a domande • Risposte a di immagini pubblicitarie
aperte domande aperte retoriche • Completamento
• Riassunto di un testo • Completamento • Analisi di una di tabelle
• Abbinamento di di tabelle pubblicità secondo • Analisi di una pubblicità
parole e definizioni una griglia data secondo una griglia data
COMPETENZE
• Saper dare una definizione di pubblicità • Descrivere i punti di forza e di debolezza
• Indicare gli scopi della pubblicità dei vari canali pubblicitari
• Definire il modello AIDA e il suo sviluppo • Saper descrivere le diverse campagne
• Individuare i bisogni secondo la gerarchia di marketing
piramidale di Maslow • Saper parlare delle principali campagne
• Saper parlare del Codice pubblicitarie
di autoregolamentazione pubblicitaria
• Saper individuare gli elementi e i passaggi
di una campagna pubblicitaria
73
UNIT 4.2 – FEATURES OF ADVERTISING
CONTENUTI
Teoria Lessico Grammatica
• Il linguaggio della pubblicità • Il linguaggio retorico, i giochi I verbi frasali
• Le figure retoriche di parole e i modi di dire
• Colori, immagini, musica e arte nella pubblicità • Gli elementi della pubblicità
• L’opera d’arte nella pubblicità • Gli elementi di un annuncio
• Efficacia e riscontro: gli indicatori pubblicitario
di prestazione
• Pubblicità stampata: analisi della struttura
• Pubblicità digitale: analisi di un annuncio
pubblicitario
• Pubblicità famose
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Risposte a domande • Completamento • Completamento • Descrizione
aperte di una tabella di una tabella di una pubblicità
• Corrispondenza • Descrizione e analisi • Analisi di una
tra parole e loro di una pubblicità pubblicità
definizione • Abbinamento • Completamento
• Vero o Falso di slogan e pubblicità di una tabella
• Identificazione
di figure retoriche
COMPETENZE
• Riconoscere gli elementi linguistici principali • Indicare gli strumenti per misurare l’efficacia
del linguaggio pubblicitario e il livello di consapevolezza di un marchio
• Saper dare una definizione di figura retorica nel consumatore
• Definire le diverse figure retoriche e i loro • Saper descrivere gli elementi principali che
contesti di utilizzo compongono una pubblicità stampata e un
• Riconoscere il valore aggiunto dell’uso annuncio pubblicitario
di colori, musica, immagini e forme • Analizzare i motivi per cui una campagna
artistiche nella pubblicità pubblicitaria ha fatto la storia nella pubblicità
74
UNIT 5.1 – PHOTOGRAPHY
CONTENUTI
Teoria Lessico Grammatica
• La luce in fotografia • Fonti di illuminazione • Il condizionale
• Evoluzione del fotogiornalismo • Tipi di fotografia per la pubblicità
• La fotografia pubblicitaria • Tecniche di ripresa nel cinema
• La fotografia nel cinema • Fotografia speciale
• Generi di fotografia • Elementi tecnici per l’analisi
• Analisi di una fotografia di una fotografia
• Grandi fotografi
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Vero/falso e correzione • Completamento • Formulazione • Formulazione
dell’errore di un brano di definizioni di definizioni
• Completamento di schemi • Discussione • Scrittura
• Completamento di testi con sulle scelte di brevi testi
parole mancanti • Abbinamenti
• Domande aperte • Spiegazione
• Completamento di un testo di differenze
con parole date • Pratica di un
• Abbinamento di termini dialogo seguendo
e definizioni uno schema
COMPETENZE
• Comprendere e usare il vocabolario specifico
• Conoscere le tipologie della fotografia pubblicitaria
• Conoscere il processo e le tecniche della fotografia cinematografica
• Saper distinguere le grandi aree tematiche della fotografia
• Conoscere i principali elementi utilizzati per l’analisi di un’immagine
• Conoscere i più importanti fotografi
• Definire persone e cose
• Organizzare i contenuti di uno schema
• Costruire e riorganizzare brani
• Paragonare
75
UNIT 5.2 – MUSIC
CONTENUTI
Teoria Lessico Grammatica
• Comunicare con la musica • Generi musicali • La forma passiva
• La musica nella vita quotidiana • Industria della musica del verbo
• Uso della musica nella pubblicità • Termini pubblicitari legati
• I video musicali all’uso della musica
• La musica nei film • Tipo e occorrenza della
• Grandi compositori di musiche da film musica nel film
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Vero/falso e correzione • Completamento • Formulazione • Completamento
dell’errore di un testo di definizioni di frasi
• Completamento di schemi di una canzone • Abbinamenti • Traduzione
• Completamento di testi • Completamento • Domande aperte
con parole mancanti di un brano
• Domande aperte
• Abbinamenti
COMPETENZE
• Comprendere e usare il vocabolario specifico
• Saper riconoscere il tipo di musica e i suoi effetti nella vita quotidiana
• Comprendere l’importanza della musica nella pubblicità
• Conoscere gli scopi della realizzazione di un video musicale
• Comprendere il ruolo della colonna sonora in un film, la tipologia e l’occorrenza della musica
in un film
• Conoscere i più famosi compositori di musiche da film
• Definire persone e cose
• Organizzare i contenuti di uno schema
• Mappa di unità
• Mappa di modulo
76
UNIT 5.3 – STORYBOARD
CONTENUTI
Teoria Lessico Grammatica
• Definizione e applicazioni di una storyboard • Terminologia legata • Discorso indiretto
– nella produzione cinematografica alla creazione
– nella pubblicità televisiva di storyboard
– nei fumetti
• Grandi illustratori
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Vero/falso e correzione • Produzione • Presentazione • Scrittura
dell’errore di una storyboard di un grande di domande per
• Completamento di schemi secondo illustratore risposte già date
• Completamento di testi le indicazioni • Domande aperte
con parole mancanti • Completamento • Racconto di una
• Scelta dell’opzione corretta per di frasi storia attraverso
il completamento di un brano • Completamento una storyboard
• Domande aperte di un testo
• Abbinamenti
COMPETENZE
• Comprendere e usare il vocabolario specifico
• Saper definire una storyboard e le sue applicazioni
• Comprendere l’uso delle storyboard nella produzione cinematografica
• Comprendere l’uso delle storyboard nella pubblicità
• Saper confrontare una storyboard e un libro a fumetti
• Definire persone e cose
• Organizzare i contenuti di uno schema
• Costruire e riorganizzare brani
77
UNIT 6.1 – BIG SCREEN
CONTENUTI
Teoria Lessico Grammatica
• Breve excursus sulla storia • Teorie di classificazione • Morfologia
del cinema • Generi cinematografici • Connettivi
• Concetti di genere cinematografico
• Teorie di classificazione
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Completamento di frasi • Completamento • Dialogo • Analisi
• Domande con risposte aperte di frasi con confronto di un film
• Abbinamenti • Domande con su opinioni
• Esercizi di mediazione linguistica risposte aperte • Presentazione
con traduzione di termini del lessico • Vero/Falso/Non
settoriale dato
• Vero/Falso e correzione dell’errore
• Completamento di tabelle
COMPETENZE
• Utilizzare terminologia specifica
• Comprendere e fornire informazioni relative a un argomento noto
• Selezionare le informazioni in forma orale e scritta
• Esprimere pareri documentati
• Tradurre mediando tra le due lingue
• Mappa di unità
• Mappa di modulo
78
UNIT 6.2 – SMALL SCREEN
CONTENUTI
Teoria Lessico Grammatica
• Breve excursus sulla storia • Teorie di classificazione • Verbi fraseologici
del cinema • Generi televisivi
• Concetti di genere televisivo
• Teorie di classificazione
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Completamento di frasi • Completamento • Dialogo • Analizzare
• Domande con risposte aperte di frasi con confronto un testo su
• Abbinamenti • Domande su opinioni un programma
• Esercizi di mediazione con risposte televisivo
linguistica con traduzione aperte
di termini del lessico settoriale • Vero/Falso/
• Vero/Falso e correzione Non dato
dell’errore
• Completamento di tabelle
COMPETENZE
• Utilizzare terminologia specifica
• Comprendere e fornire informazioni relative a un argomento noto
• Selezionare le informazioni in forma orale e scritta
• Esprimere pareri documentati
• Tradurre mediando tra le due lingue
79
UNIT 7.1 - PEOPLE
CONTENUTI
Teoria Lessico Grammatica
• Persone che lavorano • Lavori alla televisione • Used to/would
– alla televisione e nel cinema e nel cinema per abitudini passate
– per giornali, riviste o case editrici • Categorie di • Verbi causativi
– per la rete giornalisti televisivi
• Importanti svolte nella storia e della carta stampata
del giornalismo britannico • Romanzieri e scrittori
di saggi
• Redattori
• Progettisti e curatori
dei siti web
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Vero/falso e correzione • Completamento • Formulazione • Elaborazione
dell’errore di schemi di definizioni del profilo
• Completamento di schemi • Risposte a • Discussione di una persona
• Completamento di testi scelta multipla sulle scelte • Formulazione
con parole mancanti • Abbinamenti di definizioni
• Ricostruzione di un brano • Spiegazione
• Abbinamenti di differenze
COMPETENZE
• Comprendere e usare il vocabolario specifico
• Definire persone e cose
• Organizzare i contenuti di uno schema
• Costruire e riorganizzare brani
• Paragonare
• Individuare e correggere gli errori
• Mappa di unità
• Mappa di modulo
80
UNIT 7.2 – TOOLS
CONTENUTI
Teoria Lessico Grammatica
• Strumenti per lo schermo relativi: • Macchine • Prefissi
– alle riprese fotografiche • Suffissi
– all’audio • Supporti per
– alle luci macchine
• Strumenti per la stampa su carta: fotografiche
– macchine da stampa • Microfoni
– stampanti • Luci
– macchine per la stampa di fotografie
• Macchine da stampa
• Strumenti per la rete:
• Piattaforme web
– Web 3.0
• Nuvole
– piattaforme web
– nuvole
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Formulazione di definizioni • Vero/falso/non dato • Spiegazioni • Formulazione
• Risposte a scelta multipla e correzione delle di definizioni
• Completamento di testi risposte false
con parole mancanti • Completamento
• Individuazione e correzione di testi con parole
di errori mancanti
COMPETENZE
• Comprendere e usare il vocabolario specifico
• Comprendere procedure
• Comprendere le implicazioni della tecnologia
• Definire le cose
• Descrivere
• Mappa di unità
• Mappa di modulo
81
UNIT 7.3 – SOFTWARE
CONTENUTI
Teoria Lessico Grammatica
• Software per lo schermo per: • Software per la • Gerundio/-ing form
– revisione del filmato e del suono revisione dei filmati • Infinito
– sottotitoli e dell’audio • Forma base
– cattura del movimento • Manipolazione
– effetti visivi delle immagini
• Software per la stampa per: • Software per la
– desktop publishing stampa su carta
– manipolazione delle immagini
• Progettazione di siti
– gestione di stampa
web
• Software di rete per la progettazione di pagine
e siti web
• Adobe Acrobat
ABILITÀ LINGUISTICHE
Reading Listening Speaking Writing
• Ricostruzione • Vero/falso • Spiegazioni • Traduzione
di un brano e correzione • Spiegazioni
• Risposte a scelta delle risposte false
multipla • Vero/falso/non dato
• Completamento e correzione
di testi con parole delle risposte false
mancanti • Completamento
• Abbinamenti di testi con parole
mancanti
COMPETENZE
• Comprendere e usare il vocabolario specifico
• Comprendere le procedure
• Comprendere le innovazioni
• Definire cose e procedure
• Costruire un brano
• Mappa dell’unità
• Mappa di modulo
82
UDA
UNITÀ DIDATTICHE DI APPRENDIMENTO
INTERDISCIPLINARI
Citizenship competences:
• Communicate effectively by reducing barriers
• Collaborate and participate actively
• Take action autonomously and responsibly, in compliance with social rules
4. SUBJECTS Italian – History – Law – English – Graphics – Photograph – Video and
Professional Techniques – Information and Communication Technology
5. KNOWLEDGE KNOWLEDGE COMPETENCES
AND • Definition of the various kind of • To be able to accept/share the
COMPETENCES communication, objectives and objectives of a working group.
communication processes, mass • To be available to collaborate to
and interpersonal communication. plan together.
• The communication channels • To manage to plan, design, build
and the main means of and experiment.
communication. • To be able to research, select and
• Privacy, Safe Browsing Legislation. reprocess information.
• Activities of the postal police and • To manage how to solve problems,
cybercrime protection authorities. often complex because they are real.
• Subliminal communication and • To be able to evaluate options and
great communicators in history. make decisions.
• To reflect on the activated
processes.
• To know how to show, in different
ways, learning processes and
results.
84
6. RECIPIENTS Secondary School – 4th and 5th year
7. PERIOD AND First term
DURATION Three weeks
8. PROCEDURE 1. Prerequisite training: communication, history and genres.
STEPS 2. Scaffolding (questions to stir interest and curiosity).
3. Introduction of authentic documents.
4. Listening to audio and video material, working in small groups.
5. Cooperative teamwork on the Internet on technological media and related
issues (cyberbullying and the right to privacy).
6. Production of different aspects of an advertising campaign
on the conscious and correct use of social media.
9. METHODOLOGY Flipped Classroom – EAS (Episodes of Situated Learning) – Role Play –
Student-centred learning – Lab activities – Frontal instruction
10. HUMAN Class Teachers – Other experts
RESOURCES
11. TOOLS Computer – camera – multimedia interactive whiteboard – students’
smartphones/tablets – Wi-Fi
12. EVALUATION Outcome evaluation
Process evaluation
Self-evaluation
85
Module 2 – Teaching & Learning Unit
Citizenship competences:
• Communicate effectively by reducing barriers
• Collaborate and participate actively
• Take action autonomously and responsibly, in compliance with social rules
• Develop critical skills
4. SUBJECTS Italian – History – Law – English – Economics
5. KNOWLEDGE KNOWLEDGE COMPETENCES
AND • Definition of the various • To be able to accept share the objectives
COMPETENCES kind of advertising of a working group.
communication. • To be available to collaborate to plan
• Communication channels together.
and main means • To manage to plan, design, build
of communication. and experiment.
• To be able to research, select
and reprocess information.
• To manage how to solve problems, often
complex because they are real.
• To be able to evaluate options and make
decisions.
• To reflect on the activated processes.
• To know how to show, in different ways,
learning processes and results.
6. RECIPIENTS Secondary School – 4th and 5th year
86
7. PERIOD AND Second term
DURATION Three weeks
8. PROCEDURE 1. Prerequisite training: Communication, history, text analysis in French
STEPS and English.
2. Scaffolding (questions to stir interest and curiosity).
3. Introduction of authentic documents.
4. Listening to audio and video material, working in small groups.
5. Debate.
9. METHODOLOGY Flipped Classroom – EAS (Episodes of Situated Learning) – Role Play –
Student-centred learning – Lab activities – Frontal instruction – BYOD
10. HUMAN Class Teachers
RESOURCES
11. TOOLS Computer – camera – multimedia interactive whiteboard –
students’ smartphones/tablets – Wi-Fi – Internet connection
12. EVALUATION • Outcome evaluation
• Process evaluation
• Self-evaluation
87
Module 3 – Teaching & Learning Unit
Learning objectives:
• Knowing how to use language to express emotions and feelings,
in the mother tongue, English and French;
• Increasing the ability to summarise a message through keywords;
• Achieving basic skills in typography and graphic language, with basic
terminology in Italian, but also in French and English.
Citizenship competences:
• Communicate effectively by reducing barriers
• Collaborating and participating actively
• Take action autonomously and responsibly, in compliance with social
rules
4. SUBJECTS Italian – English – French – Graphics and Professional Techniques –
Information and Communication Technology
88
5. KNOWLEDGE KNOWLEDGE COMPETENCES
AND • Definition of the different • To be able to accept/share the
COMPETENCES typographic and graphic objectives of a working group.
characters (serif, sans serif) • To be available to collaborate
and of the history of typography. and plan together.
• Several communication • To manage to plan, design, build
registries relating to different and experiment.
objectives and processes. • To be able to evaluate options
• The typographic composition and make decisions.
and Fonts composition • To reflect on the activated processes.
• The use of colours and the rules • To know how to show, in different
of composition. ways, learning processes and results.
• Layout and its rules.
6. RECIPIENTS Secondary School – 3rd and 4th year
7. PERIOD AND First term
DURATION Two weeks
8. PROCEDURE 1. Brainstorming: the character of the storyteller.
STEPS 2. Prerequisites: the history of typography.
3. Listening to audio and video material, working in small groups
for reading comprehension and exercises.
4. Cooperative work on historical research and on the main features
of most commonly used typefaces.
5. Individual production of a 5-word thought to tell a personal story.
6. Creation of a graphic sketch for a T-shirt to be printed (externally).
9. METHODOLOGY Flipped Classroom – EAS (Episodes of Situated Learning) – Role Play –
Student-centred learning – Lab activities – Frontal instructions
10. HUMAN Class Teachers
RESOURCES
11. TOOLS Computer – camera – multimedia interactive whiteboard – students’
smartphones/tablets – Wi-Fi
12. EVALUATION • Outcome evaluation
• Process evaluation
• Self-evaluation
89
Module 4 – Teaching & Learning Unit
Citizenship competences:
• Collaborating and participating actively
• Taking action autonomously and responsibly, in compliance with
social rules
4. SUBJECTS Italian – Law – English – Arts – Graphics – Photograph – Video and
Professional Techniques – Information and Communication Technology
5. KNOWLEDGE and KNOWLEDGE COMPETENCES
COMPETENCES • Basics of the advertising • To be able to accept/share the
language both in printed objectives of a working group.
and online advertising. • To be available to collaborate
• How to communicate brand and plan together.
identity. • To manage to plan, design, build
• How to create a web site and and experiment.
how online marketing works. • To be able to research, select
• How to use banners and pop-up. and reprocess information.
• How to work in a team: • To manage how to solve problems,
the briefing. often complex because they are
• Photo editing, cropping real.
and post-production. • To be able to evaluate options
• How to use visual effects, and make decisions.
editing, fading, subtitles, • To reflect on the activated
dubbing, etc. processes.
• How to use different social media • To know how to show, in different
channels in the best way to ways, learning processes
communicate effective messages. and results.
6. RECIPIENTS Secondary High School - 5th year
90
7. PERIOD AND Second term
DURATION Two weeks
8. PROCEDURE Prerequisite training: the use of specified software to work out printed ads
STEPS or commercials.
1. Scaffolding (analysing and studying famous advertising campaigns).
2. Listening to audio and video material.
3. Working in small groups to identify the main phases of a media mix
campaign.
4. Cooperative teamwork: the briefing.
5. Defining the brand identity to represent in various channels such
as TV, radio, brochures, catalogues, flyers and social media.
6. Defining what the target audience is in order to choose the most
congenial channels.
7. Planning the advertising campaign using Google advertising, Instagram
advertising, and processing it from an SEO perspective.
8. Defining the objectives and the results to be achieved in the short,
medium and long term, with precise dates and times in which
to implement some actions.
9. Setting the budget to minimise spending.
10. Developing the campaign with design and advertising graphics.
11. Deciding on how to distribute the campaign and on what
communication channels.
12. Measuring the results to understand how effective the campaign
has been, what feedback has been received and what measures
are necessary to get the audience trust.
9. METHODOLOGY Flipped Classroom – EAS (Episodes of situated learning) – Role Play –
Student-centred learning – Lab activities – Frontal instructions
10. HUMAN Class Teachers; external experts
RESOURCES
11. TOOLS Computer – camera – multimedia interactive whiteboard – students’
smartphones – WI-FI
12. EVALUATION • Outcome evaluation
• Process evaluation
• Self-evaluation
91
Module 5 – Teaching & Learning Unit
Citizenship competences:
• Communicate effectively
• Collaborate and participate actively
• Take action autonomously and responsibly, in compliance with social rules
• Develop critical skills, in particular reading images with a critical
approach
4. SUBJECTS English (Auden, Refugee Blues, McEwan, Black Dogs, Miller, Incident at
Vichy, http://edition.cnn.com/2011/US/05/05/iconic.photo/index.html) –
History – Visual Communication/Art – Photography
5. KNOWLEDGE KNOWLEDGE COMPETENCES
AND • Definition of the various kind of • To be able to accept and share the
COMPETENCES visual communication, focusing objectives of a working group.
in particular on photography. • To be available to collaborate
and to plan together.
• To manage to plan, design, build
and experiment.
• To be able to research, select
and reprocess information.
• To manage how to solve problems,
often complex because they are real.
• To be able to evaluate options and
make decisions.
• To reflect on the activated
processes.
• To know how to show, in different
ways, learning processes and results.
92
6. RECIPIENTS Secondary School – 4th and 5th year
7. PERIOD AND Second term
DURATION Two weeks
8. PROCEDURE 1. Prerequisite training: how to do a webquest.
STEPS 2. Scaffolding (questions to stir interest and curiosity).
3. Introduction of authentic documents.
4. Listening to audio and video material, working in small groups.
9. METHODOLOGY Flipped Classroom – EAS (Episodes of Situated Learning) – Role Play –
Student-centred learning – Lab activities – Frontal instruction, BYOD (how
to use your onw devices in an effective way).
10. HUMAN Class teachers
RESOURCES
93
Module 6 – Teaching & Learning Unit
94
8. PROCEDURE 1. Prerequisite training: how to do a webquest.
STEPS 2. Scaffolding (questions to stir interest and curiosity).
3. Introduction of authentic documents.
4. Listening to audio and video material, working in small groups.
9. METHODOLOGY Flipped Classroom – EAS (Episodes of Situated Learning) – Role Play –
Student-centred learning – Lab activities – Frontal instruction – BYOD
(How to use you own devices in an effective way)
10. HUMAN Class teachers
RESOURCES
11. TOOLS Computer – camera – multimedia interactive whiteboard – students’
smartphones/tablets – Wi-Fi – Internet connection
12. EVALUATION • Outcome evaluation
• Process evaluation
• Self-evaluation
95
Module 7 – Teaching & Learning Unit
Citizenship competences:
• Collaborating and participating actively
• Taking action autonomously and responsibly, in compliance with social
rules
4. SUBJECTS Italian – Law – English – Arts – Graphics – Photograph – Video and
Professional Techniques – Information and Communication Technology
5. KNOWLEDGE and KNOWLEDGE COMPETENCES
COMPETENCES • The basics of layout and graphic • To be able to accept/share the
design. objectives of a working group.
• How to communicate the main • To be available to collaborate
ideas of a concept. and plan together.
• The difference between a • To manage to plan, design, build
brochure and a flyer. and experiment.
• How to work in a team. • To be able to research, select
• Photo editing. and reprocess information.
• Most common post-production • To manage how to solve problems,
software. often complex because they are real.
• To be able to evaluate options
and make decisions.
• To reflect on the activated
processes.
• To know how to show, in different
ways, learning processes and results.
6. RECIPIENTS Secondary High School – 4 year
th
96
8. FASI DI LAVORO Prerequisite training: the use of specified software for post-production
and editing.
1. Scaffolding (Analysing and studying brochures).
2. Working in small groups to identify the main ideas and concepts to
represent.
3. Cooperative teamwork: deciding on roles, tasks and responsibilities.
4. Define the target audience.
5. Setting the budget to minimise spending.
6. Developing the campaign with design and advertising graphics.
7. How to distribute the campaign and choice of communication channels.
8. Measure the results to understand how effective the campaign has been.
9. METHODOLOGY Flipped Classroom – EAS (Episodes of situated learning) – Role Play –
Student-centred learning – Lab activities – Frontal instructions
10. HUMAN Class Teachers; external experts
RESOURCES
11. TOOLS Computer – camera – multimedia interactive whiteboard – students’
smartphones – WI-FI
12. EVALUATION • Outcome evaluation
• Process evaluation
• Self-evaluation
97
GRIGLIA DI VALUTAZIONE DELL’UDA
98
MAPS AND DIAGRAMS
Questa sezione comprende la rappresentazione grafica dei contenuti di ciascuna unità
ed intende coadiuvare docente e studenti in diversi modi:
• può aiutare il docente nella presentazione e trasmissione dei contenuti;
• può aiutare nel lavoro di recupero gli studenti più deboli;
• può fungere da materiale compensativo per gli studenti BES e DSA;
• può servire per il ripasso e la preparazione dell’Esame di Stato.
Unit 1.1 – Communication
COMMUNICATION
101
Channel Physical Informal
Meet social
can be expectations
Physiological Mass
traditional
Express feelings
digital Attitudinal Interpersonal
can be
print Cultural Visual
media
Music
broadcast
Receiver Subliminal
Decoding
Feedback
Unit 1.2 – Graphic design
GRAPHIC DESIGN
art of selecting and human psychology solving as a term in 1922, all areas that deal with virtual reality
combining visual communicative essay by Dwiggins communication
elements and text into an problems
effective message customer behavior augmented reality
books
as a form of expression
satisfying in prehistory (cave walls posters
environmental trends customer drawings) digital media
needs 3D
identity design (logos and brands)
in its modern form with
the Bauhaus School entertainment
(1920s-1930s)
advertising
importance of relating business
form to function
mobile apps
102
GRAPHIC DESIGNER
Logo design +
corporate branding
Less structured
freeform layouts
Swiss style
Unit 2.1 – Psychology
MARKETING
D. Ogilvy
SENSORY MARKETING
Concept of branding
to create an emotional association
SHOCKVERTISING
103
to be remembered
dreams
to attract
empathy
to be relatable
humour
guilt
to stimulate a reaction
fear
empowerment
MARKETING
104
marketing USP: proposition that
Product
Services explains a single quality
Early 20th century Place about a product that lets
intangible it stand out against
Price
Development and competition
People and ideas success of marketing Promotion
Service P's
Today
People
Digital marketing
Physical evidence
(thanks to big data)
Processes
Marketing
implementation
Marketing control
Unit 2.3 – Marketing applications
MARKETING APPLICATIONS
Name or symbol that identifies a Everything done to promote Granting money to Embedded marketing Action of protecting the
seller's product on the market and sell products once the another company for (products featured in a video) goods in a container
customer is in store promotional benefits to create positive feelings for
It includes the brand It communicates emotional
and functional benefits
Culture MASCOTS ENDORSEMENT Can be
It identifies the product and
Identity
Product exposure reinforces the brand
Image Any animal/toy/object/puppet/person Having a celebrity
who reflects company's look and feel supporting the brand Verbal exposure
Personality
LABELLING
Brand signage
Character To boost
INFLUENCERS Action of giving
Reputation Brand identity
information about the
Brand recognition Normal people who product to the
105
TRADEMARK influence purchasing consumer
Brand awareness
decisions thanks to the
relationship they have with Important advertising
Registered name that legally message
their audience
represents a company
LOGO
importance of
Typeface
Shape
Colours
Visual connection to
company's values
Some examples of great logos
Nike
I NY
Burger King
Unit 3.1 – The basics
LAYOUT
106
Tips
Cool Charter
Helvetica
Piece of material on the product 3 Table Rule of thirds
which gives information
Hue can be Golden section
can be Tint Raster
Brand Shade Vector
Descriptive Tone
Grade are chosen to form
Informative
Harmonies
Monochromatic
Complementary
Split complementary
Analogous
Triadic
Square
Tetradic/Rectangle
Unit 3.2 – Paper
LAYOUT ON PAPER
107
composition point Billboards text
Margins
Single, unbound,
Multipanel Grouping inexpensive, Page Large posters have
superior quality numbering around
Different sections, Relationship high-trafficked balloons
Headers and areas
same shapes between Brochures
footers
elements dotted
Silhouette Folded, different Sections
types and shapes, bubbled
Alignment
have different parts
Use of shadows pictures, bold
Similarity expensive, durable Covers
flickering
Big type Layout
Grid Booklets
For headlines Spine
Vertical and Bound, many
pages, durable, Body
Alphabet-inspired horizontal lines
expensive
Use of letters
Unit 3.3 – Digital layout
DIGITAL LAYOUT
uses is used for can be for can be for has helped to develop
108
Touchscreen Posts
in the form of includes
ADVERTISING
is aims at was born resorted to uses is generally must respect can be classified into
prepared by
Marketing Informing with Psychology MASLOW'S Code of Marketing PRODUCT
tactic to CONSUMERISM PYRAMID OF ADVERTISING Communication ADVERTSING
promote NEEDS AGENCY Self-Regulation
a product Persuading Motivational
after the 1st research
aims at Pioneering
Industrial
Physiological Identifies USP
Reminding Revolution
making sure
commercial Competitive
using To make brand Safety Prepares campaign communications
names known are honest, true,
correct Comparative
AIDCAS model Local
Social
National
Attention Digital Chart INSTITUTIONAL
109
Esteem International ADVERTISING
Interest aims at
Desire Chooses media
Self-actualisation regulating Enhancing
channel
Confidence marketing corporate identity
communications
Action Print ad on the Internet
Satisfaction Broadcasting ad and social Advocacy
networks
Outdoor ad
PUBLIC SERVICE
Digital ad
ADVERTISING
Product/Brand
integration
Chooses strategy
ATL
BTL
TTL
Unit 4.2 – Feautures of advertising
FEATURES OF
ADVERTISING
110
Caption
measuring
Imperative tense
Brand user behavior
PHOTOGRAPHY
111
photography
the naked eye Crew Meaning
Nature Photos as agents for
in photography Shooting techniques Scientific and military transformation
Sports
Sources Bird's eye
Stage and set
Front lighting Extreme long shot
Politics
Side lighting Long shot
Magic hours
Golden
Blue
Unit 5.2 – Music
MUSIC
because
Hospitals and Purposes Purposes
nursing homes
it makes the ad more
Emotion Sell songs and CD
memorable and emotive
Shopping centres Atmosphere Entertain
with
Rhythm Promote artist
Restaurants
different genres Commentary Increase marketing profits
Support to the plot
112
Breeding centres Classical History
Pop Location
1960s
Agriculture Old
Main titles Promos
Electronic
Fitness centres During the plot 1970s
In the form of
Inside the narration Top fo the Pops
jingles Out of the narration 1980s
MTV
End credits
Mid 1980s
It can be
Star image of artists
existing
2000, ...
written specifically
Song + choreography +
(score)
making of
It is called
Soundtrack
Unit 5.3 – Storyboard
STORYBOARDING
113
Gone with the summarised in
Use of film shooting Solution Positions of
Wind techniques
Script Emergency Call to cameramen
breakdown instructions action
Differences
shown as Shooting angles
can be preceded by
Comics Size and shape
of frames Animatic Frames
Thumbnailing
Movement
Animated storyboard
Small draft sketches (filmed drawn panels) Camera
movements
Photomatic
Purpose
Animated storyboard made
Pre-visualising with photographs
and planning
sequences
Unit 6.1 – Big screen
BIG SCREEN
114
French cinema
Crime and gang/Thriller Evolution
1920s/1930s
Documentary Chabrol
Simplification +
Drama computerisation Beginning of Godard
animation films
Epic/Historical/War Recognised in 2002 with Truffaut
1940s, ...
New challenges
Introduction of television
Digital technology
Unit 6.2 – Small screen
SMALL SCREEN
Some examples
TELEVISION SHOOTING ENTERTAINMENT NICHE FACTUAL EDUCATIONAL
EVENTS PROGRAMMES PROGRAMMES PROGRAMMES PROGRAMMES Cartoons
A brief history
No post-production Soap operas Cartoons News
1949
Need of good Sitcoms Music Weather
1884 equipment and skills
Game/quiz shows Sports Reports First animated TV show
Nipkow disk Variety shows Religion Documentaries
Crusader Rabbit
1891 TV dramas
Chat shows Role
Cathode ray tube
Reality TV
Entertain
1907 Talent shows
and contests Foster moral values
Kinetoscope
Cookery shows Effects on children
and contests
1929
Music shows Positive
Low-definition TV and contests
115
Language
acquisition
1936
Negative
Electronic broadcasting Violence
system (UK)
Documentaries
1947
Role News
Storytelling
Disseminates information
Source of information globally
116
Producer
Journalist Screenwriter Book writers
Anchor
Novelist
Services for the set
Sub-editor
Short story writer
Reporter Set designer
Non-fictional writer
Metereologist Costume designer
Biographer
Weather-man Make-up artist
Essayst
Hairdresser
Extra services
Prompter
Marketing
Extra services
Publicist
Cleaner
Marketer
Caterer
Sale manager
Driver
Distribution
Distributor
Newsagent
Newspaper boy
Lorry driver
Unit 7.2 – Tools
TOOLS
Camera 2D Hardware
Cinematic 3D Software
Camcorder
Photo printing machine Web 1.0
Camera support
Consultation
Tripods Printer
Gimbals Web 2.0
Laser
Shoulder mounting
Inkjet User-created content
Dolly
Continuous (CIJ) Interaction
117
Audio Drop-on-demand (DOD)
Web 3.0
Headphones Rotary printing press
Clouds
Microphone
Offset printing Artificial intelligence
Wireless
Rotogravure 3D graphics
Shotgun
Flexography Wikis
Boom pole
Semantic, ubiquitous, high connectivity
Lavalier
Microphone support Platforms
Lighting To socialise
To locate
Three-point lighting
To find
Light reflector
To book
Camera lights
To download
Softbox
To learn
Unit 7.3 – Software
SOFTWARE
Subtitles To create
Photo software
Sound editing Websites
Photo editing
Dubbing Photo cropping Collection of web pages
118
Revoicing Written in HTML
Print management software
Automated dialogue replacement Hosted in a web server
Looping Static
Dynamic
Capture software
Displayed in a web browser
Motion
Having a web address (URL)
Performance
Tested through a browser
PDF files
Online signature of documents
ESAME DI STATO
L’Esame di Stato
L’Esame di Stato conclusivo dei corsi di studio di istruzione secondaria di II grado è disciplinato
dal D. Lgs. n. 62/2017, dove vengono stabilite le regole per la sua conduzione. Le prove d’esame
previste per tutti gli istituti di istruzione secondaria II grado sono in totale tre, due prove scritte a
carattere nazionale e un colloquio.
Le regole e disposizioni stabilite dalla normativa sulla struttura e modalità di svolgimento delle
prove d’esame sono valide per tutti gli istituti di istruzione secondaria II grado e per i diversi
indirizzi in essi presenti, fatta eccezione per la seconda prova scritta, per la quale negli Istituti
Professionali è prevista specifica disposizione.
Le tracce relative alla prima e seconda prova scritta sono elaborate dal MIUR nel rispetto del
quadro di riferimento allegato al DM n.769/2018, in modo da privilegiare, per ciascuna disciplina,
i nuclei tematici fondamentali, in sintonia con le Indicazioni nazionali e le Linee guida. Il MIUR
sceglie i testi della prima e seconda prova per tutti i percorsi di studio tra le proposte elaborate da
una commissione di esperti.
La seconda prova ha per oggetto una o più discipline caratterizzanti il corso di studio ed è intesa
ad accertare le conoscenze, le abilità e le competenze attese dal profilo educativo culturale e
professionale dello studente dello specifico indirizzo.
Colloquio orale
La struttura dell’esame orale è stata rinnovata dal Decreto Legislativo 13 aprile 2017, n. 62, la
riforma che disciplina i cambiamenti del nuovo esame di Stato. Secondo la riforma, l›obiettivo del
colloquio è quello di «accertare il conseguimento del profilo culturale, educativo e professionale
della studentessa o dello studente».
Durante l’esame orale, oltre alla trattazione multidisciplinare dei materiali proposti dalla
commissione, i candidati dovranno anche presentare la relazione sulle attività condotte durante il
percorso di studi, come i PCTO, e rispondere a domande di educazione civica. Saranno i membri della
commissione a stabilire, secondo il documento del 15 maggio, i possibili argomenti del colloquio.
La presente sezione ha l’obiettivo di fornire alcuni suggerimenti e spunti per dare origine a una
simulazione di colloquio orale simile a quello attualmente previsto per l’Esame di Stato.
120
Sample model
Sample questions:
1. Are there any politically committed writers among the giants of Literature in
English of the 20th century?
2. What do Capa’s photo and Picasso’s masterpiece have in common?
3. Would the title Literature and Cinema Go to War be suitable for a documentary
on the Spanish Civil War? Justify your answer.
121
References:
Robert Capa
Possibly the most famous of war photographs, this image is all but synonymous
with the name of its maker, Robert Capa, who was proclaimed in 1938, at the
age of twenty-five, “the greatest war photographer in the world” in the British
magazine Picture Post. Taken at the beginning of the Spanish Civil War and showing
the moment of a bullet’s impact on a loyalist soldier, this photograph has become
an emblem of the medium’s unrivaled capacity to depict sudden death. It is also
prototypical of the style of photojournalism that came to define the work of Capa
and his colleagues at the picture press agency Magnum Photos in the late 1940s.
If such images have etched themselves into the public’s mind, it is not because
of their existence as original prints, but rather because of their proliferation through
newspapers and magazines. Although the scene depicted is specific to an event now
temporally distanced, the image nevertheless seems strangely familiar and retains
its powerful impact. Its expressive charge recalls another, equally famous image of
war in Spain, Francisco Goya’s The Third of May, 1808 (1814).
Capa’s image excludes Goya’s narrative elements – the executioners, stark
backdrop, and dramatic nocturnal light – and instead zeroes in on the instant of
death forever anticipated in the painting.
From 1936 to 1939, Spain commanded the world’s attention, playing out the
West’s anxieties over the rapid rise of fascism as Europe and America nervously
looked on. The Nationalists, as the side of the army rebels came to be known,
represented Spain’s forces of reaction: the land-owning class, industrial bourgeoisie,
the Catholic Church, and Fascists, led by Francisco Franco. Aided by Hitler and
Mussolini, Franco’s Nationalists conducted their “holy crusade” in the name of order
and a return to tradition against the Republic. The Spanish civil war (1936-1939),
one of the most emblematic happenings of the 20th century, was responsible for
clustering a generation of young writers, poets, and artists who looked at the conflict
as being something central in their lives. A relevant part of our proposal consists in
exploring cinema and literature as specific forms of knowledge of the social world.
The Spanish Civil War had an enormous impact on Western culture, in particular on
literature in English, with giants of literature who were inspired by this event.
122
Wystan Hugh Auden
Auden had gone to Spain as a volunteer, where he served as an ambulance driver.
The civil war was split between the Republicans and Francisco Franco’s Fascist
forces. Franco was a tyrannical brute in the same fashion as Hitler and Mussolini.
In 1936 Auden had written to his close friend “I am not one of those who believes
that poetry need or even should be directly political. But in a critical period such as
ours, I do believe that the poet must have direct knowledge of the major political
events.” As a leftist intellectual, Auden supported the Republicans, but he witnessed
the brutality of both sides. The volunteers joining the International Brigades were
compared to gulls and seeds coming from far away. The Spanish Civil War (1936–38)
was regarded by people all over the world as a struggle for the future, not only of
Spain, but of civilisation. On one side, General Franco’s fascist army was supported
by Hitler’s Germany. On the other, the leftist government of the Spanish Republic,
supported by liberals and socialists all over the world, as well as by Stalin’s Soviet
Union. Thousands of young volunteers came from every part of Europe and America
to fight against fascism in the International Brigades. W. H. Auden was briefly in
Spain at this time and wrote Spain 1937 (2.2502–05) as propaganda in support of
the Spanish Republic and its defenders; proceeds from the sale of the poem went
to Medical Aid for Spain. The poem does not romanticise warfare, at least not in
the traditional sense. Auden recognizes that war, even in the best cause, involves
“conscious acceptance of guilt in the fact of murder” (line 82). But while the struggle
in Spain may not be glamorous, it is a historical necessity from which no supporter
of freedom can afford to turn away:
“We are left We are left alone with our day, and the time is short and History to
the defeated May say Alas but cannot help or pardon”. (lines 90-92)
Ernest Hemingway
A year after the start of the Spanish Civil War in 1936, Hemingway left for
Spain to cover the conflict for the American Newspaper Alliance. This experience
inspired his novel set during the Spanish Civil War, For whom the Bell Tolls, and is
also autobiographical in that it tells the story of an American in the International
Brigade. A film adaptation, starring Gary Cooper and Ingrid Bergman, came out in
1943 and was a critical hit, helping to draw further attention to Hemingway’s work
and views on Spain. The title is from a sermon by John Donne containing the famous
words «No man is an island, entire of itself; every man is a piece of the Continent, a
part of the main…. Any man’s death diminishes me, for I am involved in mankind.
And therefore never send to know for whom the bell tolls; it tolls for thee.” The
protagonist is an American teacher, Jordan, who has joined the antifascist Loyalist
army and is sent to make contact with a guerrilla band and blow up a bridge to
advance a Loyalist offensive. The action takes place during Jordan’s 72 hours at the
guerrilla camp. During this period he falls in love with María, who has been raped
123
by fascist soldiers, and befriends the shrewd but cowardly guerrilla leader, Pablo
and his courageous wife, Pilar. Jordan manages to destroy the bridge; Pablo, Pilar,
María, and two other guerrillas escape, but Jordan is injured. Proclaiming his love
to María once more, he awaits the fascist troops and certain death.
George Orwell
Orwell recorded his experiences in Spain in Homage to Catalonia, his first-hand
account of a war and revolution. In its pages, he reflects on the indelible impression
of being, for the first time, “in a town where the working class was in the saddle:
practically every building of any size had been seized by the workers and was
draped with red flags or with the red and black flag of the Anarchists … Every shop
and cafe had an inscription saying that it had been collectivized; …There were no
private motor-cars, they had all been commandeered, and the trams and taxis and
much of the other transport were painted red and black. The revolutionary posters
were everywhere, flaming from the walls in clean reds and blues…”
Ken Loach
Land and Freedom tells the story of a young man named David Carr (Ian Hart)
who enlists to fight General Franco’s forces. The historical record shows that
somewhere in the region of 4,000 British men were sent to Spain to combat the
anti-fascist movement. A feature of the war explored here is the role of poor rural
Spanish communities in the war. By framing the story with a scene showing David’s
granddaughter reading his letters about his experiences, the film recognises the need
for each new generation to be politically engaged. As David’s closing voiceover has
it, “Revolutions are contagious.”
124
Module 1 – COMMUNICATION AND GRAPHIC DESIGN
2. The communication process consists of specific elements. Discuss their importance and function
in creating effective communication.
Encode
Sender Receiver
Encode
125
4. Briefly discuss the picture and then
make reference to the non-verbal
communication of Nazi propaganda
and to the analysis of the gestures
of leaders of totalitarian regimes.
5. New media and technology are strictly connected to mass and interpersonal communication.
Explain the two different processes and the process of choice of the best communication
channel.
6. Famous Graphic designers have left a lasting sign in the world of communication: think of one
of them and explain why it has done so.
7. Graphic design is all about visual storytelling, a way to convey information through photos and
art. Discuss how composition is so relevant in graphic design.
9. The birth of modern graphic design: the Bauhaus school in Germany. Discuss.
10. Augmented and vir tual reality: dreams or reality? Express your opinions on their uses,
applications and implications.
126
Module 2 – PSYCHOLOGY AND MARKETING
127
3. Look at this picture, then explain what a catchy ad should be like in order not to be skipped.
128
Dear President-elect Obama,
adoption at www.DogsRule.com
129
7. Describe the following image.
Then provide a definition of product
placement.
9. Read the following pieces of advice, then explain why they are closely linked to marketing.
“Select a musical genre that your target audience would most identify with. For example, if you
are selling musical instruments, the target audience likely enjoys symphonic-style music. If you
are selling saddles, choose a genre such as country and western.”
10. Read the following definition provided by Philip Kotler and say what it refers to.
This concept “holds that the organisation’s task is to determine the needs, wants, and interests
of target markets and to deliver the desired satisfactions more effectively and efficiently than
competitors in a way that preserves or enhances the consumer’s and the society’s well-being.”
130
Module 3 – LAYOUT
131
4. What does this picture
represent? Briefly talk
about the principles of
composition.
132
7. Briefly talk about the
common features in
the layout of a book.
What parts need special
thought and design?
8. Web design and advertising. Briefly talk about their relationship and features.
10. How have social media changed their style of communicating? Discuss.
133
Module 4 – ADVERTISING
134
4. Talk about the picture and
discuss its relevance not only to
advertising, but also to the Italian
Constitution.
6. Briefly talk about outdoor advertising and talk about media channels in general.
135
We cut off something
that doesn’t grow again.
Wherever the rain forest is cleared,
barren ground remains.
136
Module 5 – CREATIVE ARTS
137
4. Comment on these images. How could they be used
in an advertising campaign? What are the purposes of
advertising photography?
5. “Cinematography is the creation of images we see on the screen; it is a series of shots that
form a cohesive narrative.” Comment on this definition and talk about the team, the process
and the shooting techniques.
6. Ansel Adams was an American photographer who became famous for his iconic images of the
American West. His breathtaking black-and-white pictures helped to promote the conservation
of nature as well as establish photography as a recognized and respected fine art. What famous
photographers could capture nature and people with extraordinary skill?
7. Music in fitness centres creates a pleasant atmosphere. Comment on this photo and talk about
the use of music in gyms, restaurants, shopping centres, nursing homes and agriculture.
138
8. What are the two
people on the left
doing? Comment on
this photo and talk
about the purposes
of music videos and
their evolution from
the 1960s to the new
millennium.
10. What does this image represent? Comment on it, and explain the similarities and the differences
between storyboards for films and comic books.
139
Module 6 – BIG AND SMALL SCREEN
1. Comment on this
quote by film
director Alfred
Hitchcock.
3. Look at this picture and say which jobs have been left out, then pick a job and describe its
main features.
140
4. Look at this picture and comment on the impact
TV anchors can have on our lives, taking into
consideration both positive and negative aspects.
5. Compare the film posters of two adaptations for the screen of a masterpiece by Scott Fitzgerald.
141
7. Pick a genre from
the ones shown
on the right and
say what you know
about it.
8. Think of the possible image manipulations postproduction allows you to do and comment on the
following passage. Then explain how you could make a movie without postproduction.
“The aim of the film movement Dogme 95 put forward by the directors Lars von Trier and
Thomas Vinterberg, was for the purification of the filmmaking process. It was to cleanse the
whole procedure of filmmaking by refusing expensive special effects, post-production changes
as well as other gimmicks.”
10. Comment on this image and say what you know about a great director who made this object
famous.
142
Module 7 – PEOPLE AND INSTRUMENTS
2. This quote highlights important roles in the field of publishing. Comment on it.
“A person who wrote badly did better than a person who does not write at all.
A bad writing can be corrected. An empty page remains an empty page.”
Israelmore Ayivor, How You Can Write Your Dream Book
5. Think of what
this picture
represents and
the impact of
these platforms
on our lives.
143
6. Look at this picture and talk about
the techniques it shows.
8. Think of the possible image manipulations this software allows you to do.
144
9. Think of how the web has progressed and its future trends.
10. This quote makes us think of what a good web designer should consider.
“A website without visitors is like a ship lost in the horizon.”
Dr Christopher Dayagdag, CEO of Marketlink Web Solutions
145
UNIT TESTS
I seguenti test mirano a verificare le conoscenze, le abilità e le competenze degli studenti
per ciascuna unità del volume.
Ciascun test è disponibile in due versioni ed è della durata di circa un’ora.
Il materiale è editabile, quindi ogni docente può adattare facilmente ciascun test per le
sue classi.
Inoltre, è anche disponibile una versione editabile dei test in formato adattato per i BES
sul sito della casa editrice: www.edisco.it.
U 1.1 Communication Name ..................................................................................................
VOCABULARY
1. Match each word to the right definition. There are two extra-words.
1. An interchange of thoughts, opinions, or a. To achieve
information by speech, writing, or signs. b. To engage
2. The way of acting of a human or animal. c. Purpose
3. A reaction or response to a particular process or activity. d. To influence
4. To keep the attention of someone. e. Audience
5. A particular form or stage of civilisation, as that f. Courtship
of a certain nation or period. g. Channel
6. The group of spectators at a public event. h. Behaviour
7. A means used to convey information. i. Communication
8. To succeed in dealing with something. j. Feedback
9. The reason for which something is done. k. To overcome
10. To change someone’s ideas or actions. l. Culture
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CONTENT
2. Write a short text describing the main types of communication. Use no more than 10 lines.
......... /20
3. Read the questions and choose the appropriate answer.
1. In the past, people used to discuss their experiences mainly…
a. face to face. c. on the telephone.
b. writing letters. d. writing e-mails.
2. Traditional channels are…
a. digital newspapers. c. radio and television.
b. e-mails and websites. d. blogs.
3. Grapevine communication can be defined as…
a. communication between peers in a formal contest.
b. non-verbal communication mostly using body language.
c. an informal, chaotic and unconventional type of communication.
d. a horizontal kind of communication between peers.
4. SEO stands for…
a. Strategic Empowerment Objectives. c. Search Engine Optimisation.
b. Social Elements of the Organisation. d. Strategic Elements Organised.
5. Which of the following are elements in the process of communication?
a. Sender, receiver, feedback, manager.
b. Channel, feedback, message, communication.
c. Decoding, sender, non-verbal, contest.
d. Feedback, message, receiver, sender.
149
U 1.1 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
6. Music can…
a. reduce anxiety and depression. c. make communication difficult.
b. develop extra sensorial perceptions. d. change someone’s lifestyle.
7. Subliminal messages are perceived…
a. by the conscious mind. c. outside the conscious realm.
b. through the five senses. d. through tactile stimuli.
8. One of the advantages of visual communication is…
a. reaching only a specific part of the audience.
b. communicating through the use of sounds.
c. making the message instantly clear.
d. obtaining the desired effect.
9. Choose the incorrect option. One of the purposes of communication is…
a. to express feelings. c. to influence.
b. to relax our mind. d. to share knowledge.
10. Great communicators are able to…
a. make people feel alive. c. build friendship with people.
b. move people and create actions. d. make people wake up.
......... /20
COMPETENCE
4. Complete the text with these words. You can repeat or slightly adapt them.
feedback • receiver • sender • message • non-verbal • encode • decode • channel
150
U 1.1 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
5. Read the text and say if the following statements are true or false. Correct the false ones.
Mass Communication
To understand mass communication, we must first be aware of some of the key factors that
distinguish it from other forms of communication. To convey a message to a large audience,
a media channel is necessary. Moreover, in such communication, participants are not equally
present during the process: the audience tends to be distant, diverse, and vary in size
depending on the medium and message. Finally, mass communication is most often profit-
driven, and feedback is limited.
Mass communication is becoming more and more integrated in our lives at an increasingly
rapid pace. This process is caused by the increasing convergence between ourselves and
technology: we are not as distanced from mass communication as in the past and we have
more opportunities to use it to fulfil interpersonal and social needs. Sites such as Facebook,
Twitter, Vine, Snapchat, and Instagram are great examples of new mass communication
platforms that we use to develop and maintain interpersonal relationships, for example.
Mass communication specialists use their knowledge of rhetorical values and strategic media
practices to develop, share, and evaluate effective messages to large, targeted audiences.
These policies allow public relations specialists, journalists, advertisers and marketers,
graphic designers and illustrators, corporate media managers and other media professionals
to create and start strategic communication plans across nearly every industry.
There are five distinct steps in mass communication: 1. a professional communicator creates
the message; 2. the message is sent quickly and continuously through the media; 3. The
message is received by a vast and diverse audience; 4. the audience gives the message a
meaning; 5. the audience is influenced or changed in some manner.
Two of the best-known applications for mass communication are commercial advertising
and political campaigns.
Adapted from: https://courses.lumenlearning.com/suny-introductiontocommunication/chapter/
defining-mass-communication/
Glossary:
to fulfil: realizzare policy: politica
increasingly: sempre più value: valore
pace: ritmo
T F
1. Media channels are not always necessary in mass communication.
2. It is easy to target audience with mass communication.
3. Mass communication is generally sales-oriented.
4. Feedback is generally absent in mass communication.
5. We are distancing ourselves from mass communication.
6. We don’t use mass communication tools in our interpersonal communication.
7. Experts in mass communication help other specialists find the best communication
strategy.
8. Graphic designers and journalists are examples of media professionals.
9. It is impossible to describe the steps of mass communication.
10. Mass communication is often used in politics.
......... /20
......... /100
151
U 1.1 Communication Name ..................................................................................................
VOCABULARY
2. Incomprensione .................................................................................................................................................................
3. Gesto .................................................................................................................................................................
4. Comportamento .................................................................................................................................................................
5. Ricevente .................................................................................................................................................................
8. Coscienza .................................................................................................................................................................
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CONTENT
2. Write a short text talking about the channels of communication. Use no more than 10 lines.
......... /20
152
U 1.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
Signal Drums
For centuries, people in Africa, New Guinea, and the 5. …..................................... regions
of the Americas have used drums to communicate with each other across great
6. …...................................... Messages could be transmitted at about 160 kilometres an hour,
virtually instantly at the time. The talking drums spread throughout West Africa and to the
Americas and the Caribbean during the slave trade. The use of these drums was eventually
banned because the slaves were using them to 7. …..................................... over long distances in
codes the slavers didn’t understand.
Political Music
In today’s world music is still used to communicate 8. …...................................... An example of the
most easily recognizable message conveyed by much of today’s music might be political
music, or the “9. …..................................... song”. This particular kind music has been around since
at least the early part of the 18th century, and there has been such a song for every single
major 10. …..................................... or political movement in western history since. These songs aim
at pointing out some 11. …..................................... in society; presenting a 12. …..................................... to
that problem in terms of action and a 13. …..................................... , trying to recruit individuals by
creating 14. …..................................... unity and uniqueness.
153
U 1.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
......... /20
5. Read the text and answer the questions.
Visual Communication
Every kind of communication done through sight is visual communication. Let’s think about
facial expressions, gestures, eye contacts, signals, maps, charts, posters, but also illustrations
and animations, books, magazines, screen-based media, interactive web design, short films,
advertising, promotions, corporate identity and packaging designs… all aim at communicating
in a visual way. The visual presentation of information and data is having an increasing impact
on our practical life; it plays an important role in every organisation and it is becoming very
popular day by day since most businesses are using visual techniques to present information.
Also, it is estimated that 65% of people are “visual learners”, meaning that they are able to
retain information better when it is presented visually, rather than through text.
Improving visual communication is therefore one of the simplest, most important steps to
take to help people to retain more information and make better decisions.
Nevertheless, the truth is that effective visual communication takes effort and it is time-
consuming, too: sending an email or memo with some basic information in it takes just a few
seconds, creating a visual aid for that same information could take a half hour or more. Moreover,
it can be expensive in terms of money used (you need professionals for a professional result),
and sometimes it can be ineffective since receivers may not understand the whole meaning of
the presentation. Though very useful and with a great impact, visual communication is, however,
considered an incomplete method, not sufficient to always communicate effectively and clearly
since ambiguity, situational problems and delays in making decisions can derive from it.
Adapted from: https://thebusinesscommunication.com/
what-is-visual-communication-advantages-and-disadvantages/
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154
U 1.2 Graphic design Name ..................................................................................................
VOCABULARY
1. Match each word to its right definition.
1. Reliance a. Attractive and pleasing.
2. Effective b. Producing a vivid expression, striking.
3. Core c. A need or necessity.
4. Consumption d. A person who makes an agreement.
5. Requirement e. Any sort of short instructions.
6. Engaging f. The act of consuming.
7. Briefing g. To modify according to personal preferences.
8. To customise h. Surrounding things.
9. Contractor i. Confidence.
10. Environment j. The most essential part of anything.
......... /20
CONTENT
2. Read the sentences and say if they are true or false, then correct the false ones.
T F
1. Graphic design is the art of writing effective messages.
2. Graphic design aims to involve the audience.
3. Graphic design is often called “visual communication”.
4. Graphic design deals with written communication.
5. Graphic designers often work alone.
6. William Addison Dwiggins was an English author who, in the early 20th century,
coined the term graphic design.
7. It is said that graphic design can be traced back to our early progenitors.
8. Mankind has never shown a particular interest in communication through drawings.
9. Graphic design is considered crucial and decisive in the sale and marketing of products.
10. Paul Rand is considered a milestone in the history of graphic design.
......... /20
3. Briefly talk about who graphic designers are using no more than 100 words.
......... /20
COMPETENCE
4. Complete the text with the words given. Two are extra words.
interior • goods • century • paper • media • receipts • processes • Interface • design •
challenge • responsibility • Web
......... /20
5. Read the above text again and say if the following statements are true or false.
Correct the false ones.
T F
1. Printing has always been fundamental in our education.
2. In the past, graphic design was closely related to printing developments.
3. In the 20th century, graphic design wasn’t interested in technology at all.
4. Computer graphics have never been a valid alternative to traditional production
methods.
5. The WWW has greatly contributed to change the way people communicate.
6. In the 20th century people continued to use the same approach in communication.
7. The WWW transformed graphic design processes into computer-based ones.
8. The computer is now used as a new communication medium.
9. Designing a friendly “GUI” is a task for the whole team of experts helping
the graphic designer.
10. Designing for the screen is the same as designing for print.
......... /20
......... /100
156
U 1.2 Graphic design Name ..................................................................................................
VOCABULARY
1. Underline the correct translation of the following words.
1. Task a. Offerta b. Compito c. Ruolo
2. To manage a. Minacciare b. Mantenere c. Gestire
3. Layout a. Impaginazione b. Disposizione c. Controllo
4. Confidence a. Confidenza b. Sicurezza c. Fiducia
5. Feedback a. Riassunto b. Risposta c. Critica
6. Critical a. Decisivo b. Creativo c. Controcorrente
7. Billboard a. Cartellone b. Documento c. Annuncio
8. Customer a. Consumatore b. Cliente c. Doganiere
9. Thinker a. Pensatore b. Addetto c. Nullafacente
10. User a. Nemico b. Distributore c. Utente
......... /20
CONTENT
2. Choose the correct answer.
1. Graphic designers are used to…
a. working in a team. b. working in a factory. c. working 24 hours a day.
2. The job of a graphic designer is that of…
a. creating effective texts. b. creating meaning with images. c. creating meaningless layouts.
3. It is important for a graphic designer to be able to…
a. mediate with clients. b. support his/her projects. c. give voice to his/her thoughts.
4. Expert graphic designers must be able to respond to…
a. clients’ needs. b. the requests of the software they use.
c. the requirements of the ad.
5. Graphic designers usually decide…
a. who is part of their team. b. how clients should c. how to combine
use the products. images and text.
6. Walter Gropius was the creator of the Bauhaus school in…
a. the US. b. Germany. c. Austria.
7. The Bauhaus school can be considered as…
a. a classical private school. b. a modern factory. c. a precursor of modern design.
8. … has deeply changed the working perspective of graphic designers.
a. Bauhaus b. Technology c. Psychology
9. Augmented reality and virtual reality are … for graphic design.
a. new frontiers b. popular challenges c. old traditions
10. … is no longer the most used media by graphic designers.
a. The radio b. 3D printing c. Traditional printing
......... /20
3. Write a short text talking about the life and work of Paul Rand. Use no more than 10 lines.
......... /20
157
U 1.2 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Make a short summary of the previous text, using no more than 80 words.
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
......... /20
......... /100
158
U 2.1 Psychology Name ..................................................................................................
VOCABULARY
CONTENT
2. Choose the correct option to complete each sentence.
1. … theories of motivation explain why people desire certain products.
a. Advertising b. Medical c. Psychological d. Marketing
2. An individual’s preferences and … decisions are affected by many factors.
a. purchasing b. selling c. advertising d. fashionable
3. Advertisers know the decision to buy something is influenced by…
a. colours and sounds. c. religion.
b. the product’s cost only. d. all the five senses.
4. People’s sympathy towards the brand can be aroused by using … in ads.
a. puppies b. dolls c. toys d. owls
5. To attract people to buy, it is necessary to reach…
a. their empowerment. b. their children. c. their feelings. d. their toddlers.
6. David Ogilvy’s innovative strategy included the concept of…
a. digital marketing. c. shockvertising.
b. sensorial marketing. d. branding.
7. If people are given the means to achieve something, they are…
a. empowered. b. powerful. c. winners. d. losers.
8. Benetton insisted that … could raise the target’s consciousness.
a. shockvertising b. empowerment c. Kewpie dolls d. babies
9. Messages of fear mustn’t be…
a. depressing. b. shocking. c. present. d. used.
10. To attract people to buy, it is necessary to use marketing…
a. warnings. b. strategies. c. feelings. d. instruments.
......... /20
159
U 2.1 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Say whether the sentences are true, false or not given.
Glossary:
boost: vantarsi mouth-watering: che fa venire l’acquolina in bocca
fur: pelliccia scent: profumo
mane: criniera
T F NG
1. Sight was the only sense involved in past ads.
2. Emotional connections should not be prioritised by marketing.
3. This passage is nostalgic.
4. There aren’t any examples of multisensory marketing in the passage.
5. The passage wasn’t written by a professional.
6. According to the passage the future of creativity is not threatened by new inventions.
7. The writer doesn’t want to go back to traditional ads.
8. The writer would appreciate ads with science-fiction settings.
9. The passage talks about the possible future of advertising.
10. According to the passage, the more inventions, the more opportunities
for advertising.
......... /20
......... /100
160
UU2.1
1 Psychology
????? Name ..................................................................................................
VOCABULARY
1. Match each word to the right definition.
1. Short sentence or phrase used in ads and by political parties. a. Marketer
2. The ability to share another person’s feelings. b. Mainstream
3. Representation of an ideal customer based on market c. Empathy
research and data on real customers.
4. Arousing a negative feeling to promote a product. d. Buyer persona
5. An ad broadcast on television or radio. e. Attention grabber
6. Something intended to make people notice it. f. Paraphernalia
7. Accessory items. g. Merchandiser
8. One that promotes a product or service. h. Commercial
9. Conventional. i. Guilt appeal
10. A person who organises the sale of products, for example j. Slogan
the way they are displayed and their prices.
......... /20
CONTENT
2. Choose the correct option to complete each sentence.
1. Consumer behaviour involves the study of how people make decisions about products,
services, or even … practices such as healthy eating.
a. lifestyle c. psychological
b. medical d. marketing
2. Animals are used to increase brand recognition and…
a. sales. c. purchasing decisions.
b. selling. d. emotions.
3. Making the product a hero is the seventh of Ogilvy’s…
a. books. c. warnings.
b. commandments. d. famous slogans.
4. Stickers and … have been using by politicians since the “I like Ike” campaign.
a. photoshopped photos c. pins
b. leaflets d. slogans
5. A … point is a specific problem that prospective customers of a company are experiencing.
a. fear c. discomfort
b. pain d. injury
6. Walt Disney considered adults as…
a. prospective buyers. c. childish people.
b. grown-up kids. d. potential clients.
7. Research findings show that, subconsciously, … consider brands as human beings.
a. politicians c. marketers
b. sellers d. customers
161
U 2.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
......... /20
4. Briefly answer the questions.
1. Why do advertisers want to shock the average person?
2. Why is the term ‘desire’ a key word in advertising?
3. Why does empathy push customers to take action?
4. Why is empowering customers so important to sell more?
5. How can you establish a long-term relationship with customers using a negative feeling?
6. Are customers influenced by sight and sound?
7. What can be sold by using guilt appeals?
8. Are customers passionate about a product for its own sake?
9. Why is humour linked to the extensive use of smartphones?
10. Why did the Listerine ad represent something new when it came out?
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U 2.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Say whether the statements about the text below are true or false.
T F
1. Happiness is based on a great deal of factors according to Dan Draper.
2. Don Draper is a fictional character.
3. Fear shouldn’t be used in ads.
4. An example of empowering customers is quoted in the passage.
5. The product is seen as a hero.
6. Being afraid drives customers to take action.
7. Making people feel OK is an appeal to fear.
8. It is good if the product is seen as a support to the customer.
9. Mad Men is the title of a film.
10. The appeal to fear can make customers feel afraid of nothing.
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163
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VOCABULARY
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CONTENT
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165
U 2.2 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the text and say whether the statements are true or false. Correct the false ones.
T F
1. Rosser Reeves was British.
2. Reeves was interested in sales techniques when he was young.
3. In 1929, he started to work for a bank.
4. His first job was in the advertising department.
5. He became known as an expert in sales techniques in 1940.
6. Ted Bates created an agency with Reeves.
7. The idea of the USP was developed while Reeves was working at Ted Bates Inc.
8. Reeves thought that consumers were rational people.
9. Consumers received few messages.
10. The goal was to create messages that were easy to remember.
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166
UU2.2
1 Psychology
????? Name ..................................................................................................
VOCABULARY
CONTENT
2. Choose the correct option to complete each sentence.
1. Large companies realized the importance of market research, product design, better
distribution and communication…
a. in antiquity. c. in the early 20th century.
b. during the first Industrial Revolution. d. three years ago.
2. The process which ensures the achievement of strategic objectives is attained is called…
a. marketing implementation. c. marketing segmentation.
b. marketing control. d. marketing-mix planning.
3. A service is a performance that does not produce a…
a. commodity. c. help.
b. advantage. d. support.
4. Food, clothes and cars are…
a. tangible goods. c. tangible services.
b. intangible goods. d. intangible services.
5. The marketing mix P “…” refers to what links the product and the customer.
a. Price c. Processes
b. Physical evidence d. Product
6. What can’t marketing be applied to?
a. People. c. Politics.
b. Goods. d. It can be applied to anything.
7. Organisations need to identify what the … market is.
a. target c. focus
b. end d. hub
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168
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COMPETENCE
5. Read the text and say whether the statements are true or false. Correct the false ones
Glossary:
stake: partecipazione azionaria
T F
1. BBH was founded in the 1990s.
2. Its name comes from the initial letter of the founders’ names.
3. More than one thousand people in the world work for BBH.
4. Today BBH has a very good reputation in the world of advertising.
5. In the 1980s, BBH was not well-known in London.
6. Part of the firm was bought by Leo Burnett in 1997.
7. BBH used the funds to enlarge its own London offices.
8. New key markets were founded in New York, Singapore and Shanghai.
9. The French Publicis Groupe acquired a small part of the stakes of BBH in 2012.
10. The international offices of BBH are not as popular or as good as the main
London office.
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169
UU2.3
1 ?????
Marketing applications Name ..................................................................................................
VOCABULARY
CONTENT
170
U 2.3 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
8. The Nike logo represents a wing of the Greek goddess of Victory, so it can be considered…
a. label. c. rebus.
b. swoosh. d. metonymy.
9. In the NY logo there is an example of…
a. product exposure. c. visual identity.
b. merchandising. d. rebus.
10. It is also called ‘embedded advertising’: …
a. merchandising. c. sponsorship.
b. product placement. d. labelling.
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4. Briefly answer the questions.
1. Why can a logo be considered a sort of signature?
2. What is a trademark?
3. Is the logo part of the corporate identity?
4. Why must a company be careful with the choice of colours for its logo?
5. What kind of feelings can red convey?
6. What can a brand mascot be?
7. Who are influencers?
8. What kind of information can a label give?
9. Why should a sponsor fund a company?
10. What is product placement?
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171
U 2.3 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the text and say whether the statements below are true or false. Correct the
false ones.
Colours in Communication
People are subconsciously programmed to associate certain colours with specific situations
and emotions, and this is true for adults all over the globe. Branding and advertising
agencies think long and hard about colours before they choose what to use in a brand
development programme or advertising campaign. By carefully selecting the appropriate
colour, an advert can send out a powerful message to the viewer even before they have had
time to read and understand what the advert is promoting.
For example, everyone knows that red signals danger and that people automatically react
to a red warning sign to avoid the hazard. Why is that? Evolutionary theories believe that
early man learnt to associate red with danger: blood, uncooked meat, or the red face of an
aggressive adversary. But does that mean that red should never be used in an advert? Far
from it, but, as with all colours, an advert must be created with a careful use of colour to
ensure it sends out a positive subconscious message.
Adapted from: https://www.newdesigngroup.ca/graphic-design/psychology-colour-advertising/
T F
1. Adult people all over the world associate colours with emotions.
2. it takes a long time to choose the right colours for an advertising campaign.
3. An advert can send a powerful message using any colour.
4. The colour is not important when a viewer looks at the ad.
5. Red signals are usually connected to hazard.
6. Man has associated red with danger only recently.
7. Red shouldn’t be used in an ad because it gives the message of danger.
8. The text states that colours are fundamental in the development of an ad campaign.
9. The messages sent out by colours are very clearly explained in an ad.
10. The text implies that reactions to colours are similar in every person.
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172
UU2.3
1 Marketing
????? applications Name ..................................................................................................
VOCABULARY
CONTENT
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4. Briefly answer the questions.
1. What is the origin of the word “brand”?
2. What’s the difference between trademark and brand?
3. Which colour is associated with purity?
4. What is meant by visual identity?
5. Why can the use of a brand mascot be a successful choice for a company?
6. What factors should marketers keep in mind before hiring a celebrity as an endorser?
7. What is meant by “embedded marketing”?
8. Why can the slogan “I ♥ NY” be considered a rebus?
9. Why did New York need to be promoted as a tourist destination?
10. What does the Nike logo represent?
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174
U 2.3 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the text and say whether the statements are true or false. Correct the false ones.
T F
1. Logo design is a modern phenomenon.
2. The less education people had, the more symbols they needed.
3. The population started to grow before 900 AD.
4. In the High Middle Ages society became more specialised.
5. A cross represented pharmacies in the Middle-Ages.
6. King Richard II of England passed a law requiring a sign for the sale of beer.
7. In the Middle Ages, drinking water sometimes caused health problems.
8. Heraldic images were added to signs in order to differentiate production.
9. The pictures on the signs became names.
10. The aim of the text is to demonstrate how difficult life was when people were
illiterate.
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175
UU3.1
1 ?????
The basic Name ..................................................................................................
VOCABULARY
1. Match each word to its right definition.
1. Handwriting a. A circular frame that revolves on an axis.
2. Heading b. Highest in rank or importance.
3. Wheel c. A visual presentation of information.
4. Hue d. A picture in a book or magazine.
5. Infographic e. A title of a page.
6. Hierarchy f. Writing done using a pen or pencil.
7. Label g. Symbols used for identification, giving directions or warning.
8. Signage h. Dominant colour family on the colour wheel.
9. Illustration i. Any system of persons or things ranked one above the other.
10. Primary j. A piece of paper or other material used to give some information.
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CONTENT
2. Answer the questions.
1. Give a definition of typeface.
2. How can typefaces be classified?
3. How can you obtain tertiary colours?
4. What do monochromatic colours include?
5. What is the difference between the terms image and picture?
6. What are infographics used for?
7. What is the difference between layout and composition?
8. What’s the main goal in using white space?
9. What information do labels usually provide us with?
10. What types of labels exist?
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3. Say if these sentences are true or false. Correct the false ones. T F
1. Layout effectiveness depends only on the choice of typeface.
2. Fonts are all possible variations of a typeface.
3. Labels provide customers with necessary information.
4. Sans serif types can be connected, half connected or unconnected.
5. Warm colours are considered neutral colours.
6. A wordmark logo is only a text logo, with a single typeface to express brand identity.
7. Tetradic or rectangle colours are right next to a colour in the colour wheel.
8. Photographs are based on reality.
9. Graphs show mathematical relationships between sets of data.
10. Logos help customers to identify a brand.
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176
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COMPETENCE
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177
UU3.1
1 ?????
The basic Name ..................................................................................................
VOCABULARY
CONTENT
3. Read the sentences and say if they are true or false. Correct the false ones. T F
1. Bold, extra bold and regular are typefaces.
2. Display types are used for children’s books.
3. Split-complementary colours refer to different shades of the same colour.
4. A picture modified by computer software is called an image.
5. Cliparts are organised into categories.
6. Contrast is a fundamental principle of composition.
7. Logos can be defined as symbols identifying brands.
8. Labels can be removable.
9. Customers can obtain necessary information from labels.
10. A grade label does not give a qualitative judgement.
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178
U 3.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
Colour Coding
Colour is one of the most important aspects of design since it is a potent element of visual
communication. Colour is able to influence unconsciously many aspects of our lives, since
human beings are incredibly sensitive to colours. That’s why colours are often used to create
a mood or used to evoke specific states of mind; they create particular feelings and may
even influence the decisions people make. Moreover, colour plays an important role in
communicating information and there are many motives in using certain colours in visual
messages and displays. For example, colour coding is a way to convey information quickly,
making it easier to visually follow the path of a rail line or speeding up the search process.
Colours are still used to enhance meaning and to establish identity; in fact, in marketing
and advertising, brand identity is often highly correlated with colours. Relationships and
associations are often strengthened by colours: graphs, diagrams and grids are easier to
decode if associated with colours. Web usability is often improved by using different colours.
In user interfaces, colour informs users of the most important functions and areas of the
screen. All in all, associated with other formatting techniques, like bold and highlighting,
colours are able to create visual cues that serve to improve the readability of texts and to
identify areas of interest.
Adapted from: http://understandinggraphics.com/design/10-reasons-to-use-color/
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179
UU3.2
1 ?????
Paper Name ..................................................................................................
VOCABULARY
CONTENT
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180
U 3.2 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
3. Say if the sentences are true or false. Correct the false ones.
T F
1. Page layout is an artistic process.
Big-type layout is used to have readers focus on the whole text.
2.
Brochures are always stapled.
3.
Booklets are used for giving more in-depth information about a company.
4.
Broadsheet newspapers are usually written in a simple and colloquial style.
5.
Copyright aims to protect original and personal works of authorship.
6.
Some comic strips can become graphic novels.
7.
Onomatopoeic lettering and captions are generally used to get realistic
8.
effects in comics.
9. Posters and billboards are used in the same way.
10. A movie poster has to reveal the plot to the audience.
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4. Briefly talk about the different parts of a book. Use no more than 10 lines.
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181
U 3.2 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the text, then make a summary using no more than 70/80 words.
Glossary:
to breathe: respirare
odd: dispari
roadmap: tabella di marcia
showstopping: che fa colpo
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182
UU3.2
1 Paper
????? Name ..................................................................................................
VOCABULARY
2. Bound ............................................................................................................................................................................................
3. Magazine ............................................................................................................................................................................................
4. Header ............................................................................................................................................................................................
5. Balloon ............................................................................................................................................................................................
6. Heading ............................................................................................................................................................................................
7. Publisher ............................................................................................................................................................................................
8. Flow ............................................................................................................................................................................................
9. Plot ............................................................................................................................................................................................
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CONTENT
2. Some basic elements of book layout are… 4. Originally, comic strips were…
a. page size, sections, typeface. a. only satirical.
b. spine, body, cover. b. a form of entertainment for children.
c. margin settings and front cover. c. for adults only.
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184
U 3.2 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the text, then make a summary, using no more than 70/80 words.
Glossary:
during: durante
engaging: avvincente
issue: problema, questione
span: intervallo
upheaval: sconvolgimento
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185
UU3.3
1 ?????
Digital layout Name ..................................................................................................
VOCABULARY
CONTENT
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186
U 3.3 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
3. Say if the sentences are true or false. Correct the false ones.
T F
1. Menu driven interfaces are mainly used on cash or ticket machines.
2. Natural user interfaces operate using users’ eye recognition.
3. Mouse and keyboards are suitable for controlling mobile operating systems.
4. In a GUI everything has to be handled as a command-line operation.
5. Data and contents shared by the user can be found on their personal profiles.
6. It is possible to view and interact with the contents and profiles of other
members of social networks.
7. Posts, stories and feedback are not common features of all social networks.
8. The language of social network uses a lot of acronyms and neologisms.
9. Algorithms are used to profile users’ tastes and target adverts better.
10. Icons are essential parts of a graphical user interface.
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187
U 3.3 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the text and fill in the gaps with the given words. There are two extra ones.
Glossary:
advocate: sostenitore
to air: esprimere
grievance: rimostranza
praise: lode
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188
UU3.3
1 Digital
????? layout Name ..................................................................................................
VOCABULARY
1. Match each word to its right definition.
1. Information architecture a. A type of web advertising.
2. Content management b. A layout that resizes along with the resizing of
system the window.
3. Pop up c. A place where it is possible to view and interact with
the contents and profiles of other members.
4. Liquid layout d. A type of advertising banner.
5. Exploratory section e. Included in an application.
6. Emoji f. A layout that recognises the device the user is
browsing with.
7. Click-to-play g. Structure able to organise the web content in an
accessible and manageable way.
8. Visual design h. The use of colours, images, and fonts to make a
page smart.
9. In-app i. A way to express some sort of feedback or reaction.
10. Responsive layout j. A way to organise content using templates.
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CONTENT
2. Answer the questions.
1. What are command line interfaces? 6. What is meant by a ‘mobile-friendly
2. How does a touchscreen interface web design’?
work? 7. Why did icons become popular so
3. What does WYSIWYG stand for and quickly?
what is it? 8. Why were icons created?
4. What is visual design? 9. What are emojis?
5. What types of banners do you know of? 10. What are reactions?
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189
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190
U 3.3 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
4. Briefly talk about the common features of in-app advertising. Use no more than 70 words.
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COMPETENCE
5. Read the text, then write a summary using no more than 90 words.
Glossary:
lasting: duraturo to linger: soffermarsi
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191
UU4.1
1 ?????
Advertising Name ..................................................................................................
VOCABULARY
1. Match each word to its right definition.
1. Ethics a. The make of a product or service.
2. Audience b. The necessity of being free from risks of injury, danger, or loss.
3. Brand c. An assertion of something as a fact.
4. Safety need d. What makes your business better than the competition.
5. Target e. The estimation in which a person or thing is held.
6. Reputation f. The body of moral principles or values.
7. Claim g. Providing encouragement.
8. Endorsement h. The use of famous personalities to promote a product.
9. USP i. A goal to be reached.
10. Supportive j. A group of spectators, listeners or viewers.
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CONTENT
2. Answer the questions.
1. What is advertising? 6. What services are offered by an
2. What does the acronym AIDA advertising agency?
stand for? 7. What must a USP contain?
3. What was one of the results of the 8. What must be kept in mind when
historical process started by the developing a successful advertising
1st Industrial Revolution? campaign?
4. How many levels are there in 9. What are the four steps to follow when
Maslow’s pyramidal hierarchy? developing an advertising campaign?
5. What is pioneering advertising? 10. What is the above the line strategy?
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3. Say if the sentences are true or false. Correct the false ones.
T F
1. One of the goals expressed by the acronym AIDA is Awareness.
2. Emotion hasn’t been considered in the AIDA model.
3. Advertising appeals to emotion as well as practical needs.
4. According to Maslow’s theory, primary needs are at the top of the pyramid.
192
U 4.1 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
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COMPETENCE
5. Read the text and fill in the gaps with the given words. There are two extra ones.
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193
U 4.1 Advertising Name ..................................................................................................
VOCABULARY
CONTENT
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194
U 4.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
4. Briefly talk about the Mulino Bianco campaign in no more than 80 words.
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195
U 4.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
Glossary:
claim: affermazione gambling: gioco d’azzardo
complaint: denuncia misleading: ingannevole
to enforce: far rispettare wide-ranging: ad ampio raggio
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196
1 Feautures
UU4.2 ????? of advertising Name ..................................................................................................
VOCABULARY
CONTENT
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197
U 4.2 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
3. Say if the sentences are true or false. Correct the false ones.
T F
1. Metonymy is a rhetorical figure used to make a comparison.
2. Green is the colour most used in advertising messages dealing with health
and environment.
3. Brand recall is a memory indicator to establish the level of overall response
of the target market.
4. The marketing funnel is a strategy to measure the performance of digital
campaigns.
5. All the elements that make up the format of a printed ad are always present.
6. A body copy is generally used to give information about the product.
7. Through the Call to Action consumers are invited to purchase.
8. Payoff has to be simple but effective and easily remembered.
9. When a commercial is broadcast is not relevant.
10. Before 1931 Santa Claus was not very different from today.
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4. Briefly describe what figures of speech are and describe some of them. Use no more than
100 words.
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198
U 4.2 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the text and fill the gaps with the given words. There are two extra ones.
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199
1 ?????
UU4.2 Feautures of advertising Name ..................................................................................................
VOCABULARY
CONTENT
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200
U 4.2 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
4. Describe in no more than 100 words what the main elements of printed ads are.
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201
U 4.2 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the text and fill in the grid with essential information.
People - Representations
Technical codes
Text codes
Visual codes
Audience
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202
UU5.1
1 Photography
????? Name ..................................................................................................
VOCABULARY
CONTENT
203
U 5.1 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
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4. Briefly answer the questions.
1. How was light used in the past? 6. What is meant by “cinematography”?
2. What applications can light have in 7. What different techniques are involved in
medicine? the process of making a motion picture?
3. What are the sources of light in 8. Which professionals work together as a
photography? team in cinematography?
4. What does photojournalism use 9. What does photography celebrate in
photographs for? totalitarian regimes?
5. Who created the Magnum Photo 10. What main elements does photo
Agency? composition include?
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204
U 5.1 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the passage and decide if the sentences are true or false. Correct the false ones.
T F
1. Titanic was the film that made the most money in 1997.
2. James Cameron was the producer of the film.
3. The film tells the romantic love story of two upper-class young people.
4. The ship Titanic sank because it hit an iceberg.
5. The film is a mix of special effects and traditional shooting techniques.
6. Russell Carpenter started working as a DP from the beginning of the project.
7. Carpenter received the Oscar the following year.
8. Before Titanic, Carpenter had worked only for the film industry.
9. Carpenter studied in New York.
10. At the beginning of his career, he worked for a local television in California.
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205
UU5.1
1 ?????
Photography Name ..................................................................................................
VOCABULARY
CONTENT
206
U 5.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
3. What is cinematography? Talk about the process, the team and the shooting techniques.
Answer the question using no more than 10 lines.
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207
U 5.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the passage and decide if the sentences are true or false. Correct the false ones.
T F
1. Richard Avedon was American.
2. When he was young, he started his career as a freelancer.
3. He worked for ten years for the magazine Vogue.
4. In the 1990s, only a French magazine published his photos.
5. Avedon did not have a studio of his own.
6. He worked for famous fashion brands.
7. Avedon had many other passions besides photography.
8. Avedon took a variety of photos of his mother.
9. Avedon’s first museum exhibition took place in New York in 1962.
10. Books about Avedon’s work were published throughout his life.
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208
UU5.2
1 Music
????? Name ..................................................................................................
VOCABULARY
CONTENT
209
U 5.2 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
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210
U 5.2 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the passage and decide if the sentences are true or false. Correct the false ones.
T F
1. Exposure to music from early childhood can help children to improve their
language.
2. Logical, emotional intelligence and musical intelligence are equally important.
3. Music is not an important factor for children’s development process to learn
the sound of words.
4. The best period for a child’s musical development is from the age of six
onwards.
5. Children usually imitate and memorise the songs they hear by clapping
and singing.
6. The musical ability of children is not influenced by external factors.
7. If children are sufficiently stimulated and exposed to music, they can
get great benefits for their musical growth.
8. Parents who do not like music are not a limitation to their children’s
musical development.
9. Parents and children should enjoy music together.
10. Music can become a moment of joy and fun within the family.
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211
UU5.2
1 ?????
Music Name ..................................................................................................
VOCABULARY
CONTENT
212
U 5.2 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
213
U 5.2 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the passage and decide if the sentences are true or false. Correct the false ones.
T F
1. The study has been published in a specialised magazine.
2. The study has highlighted that listening to music at a higher tempo has no
benefits during a physical activity.
3. Each of us experiences music in a different way.
4. Cultural factors and personal preferences have no particular influence on
subjective experience.
5. The research was conducted on female volunteers.
6. The exercises were of two different types.
7. All the volunteers completed the exercises listening to pop music at high tempo.
8. Effort and heart rate were the two parameters recorded.
9. The results of the research highlighted that the exercises were more tiring,
but more beneficial.
10. The greatest benefits from listening to high tempo music were for the
volunteers performing high intensity exercises.
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214
1 Storyboard
UU5.3 ????? Name ..................................................................................................
VOCABULARY
CONTENT
215
U 5.3 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
3. Answer the question: how are storyboards used in marketing and advertising?
Use no more than 10 lines.
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216
U 5.3 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
5. Read the passage and decide if the sentences are true or false. Correct the false ones.
Who is Spider-Man?
The fictional character Spider-Man, a comic book superhero, was created by the writer Stan
Lee and the illustrator Steve Ditko in 1962 and presented in Marvel Comics publications.
Spider-Man was actually the American teenager Peter Parker, a poor orphan, who had been
bitten by a radioactive spider. As a result of the bite, he gained superhuman strength, speed,
and agility along with the ability to grip to walls, and turned into Spider-Man. In addition
to greater speed and strength, the superhero also had a precognitive “spider sense” that
alerted him to approaching dangers. Using his inborn talents, he was able to produce a
unique adhesive “web fluid” that enabled him to shape the web into various useful forms.
However, Marvel publisher Martin Goodman was not initially receptive to the idea of a
teenager hero and also thought that the audience would be repelled by the character’s spider
design on his costume. Fortunately, Lee’s instincts prevailed. Spider-Man’s debut in Amazing
Fantasy was an immediate and booming success. The force that Spider-Man gained in the
comic’s pages was also reflected in Hollywood. Spider-Man was brought to the big screen in
May 2002. Critics adored the film, and it earned more than $800 million worldwide.
Adaped from: https://www.britannica.com/topic/Spider-Man-comic-book-character
T F
1. Spider-Man was created at the beginning of the 1960s.
2. His adventures were published in a Disney magazine.
3. Peter Parker, aka Spider-Man, was actually the son of a rich American family.
4. Spider-Man’s super powers were the effects of a bite by a radioactive insect.
5. His “spider sense” could help him to sense a dangerous situation in advance.
6. Spider-Man was able to produce a material like a metal.
7. Among his amazing powers was the ability to climb walls.
8. Martin Goodman loved the idea of a teenager hero from the beginning.
9. The success of Spider-Man was really huge.
10. The 2002 film Spider-Man was harshly criticised.
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217
1 ?????
UU5.3 Storyboard Name ..................................................................................................
VOCABULARY
CONTENT
218
U 5.3 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
3. Answer the question: how are storyboards used in the film industry? Use no more
than 10 lines.
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219
U 5.3 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
5. Read the passage and decide if the sentences are true or false. Correct the false ones.
T F
Asterix was created by two British artists.
1.
Asterix is a beloved comic book character all over the world.
2.
His adventures have been translated into a lot of languages.
3.
The adventures take place in Paris in around 50 AD.
4.
The secret of the village is a magic potion.
5.
Uderzo talked about the creation of Asterix to a journalist.
6.
In the summer of 1959, Uderzo and Goscinny were trying to create a
7.
character for a new teenage magazine.
8. They took inspiration from French history.
9. Asterix is the stereotype of the handsome and brave hero.
10. The name Asterix derives from Latin.
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220
UU6.1
1 Big
?????
screen Name ..................................................................................................
VOCABULARY
CONTENT
221
U 6.1 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
3. Answer the question using no more than 10 lines: what elements must be taken
into consideration when analysing a film?
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222
U 6.1 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the passage and decide if the sentences are true or false.
T F
2001: A Space Odyssey is a very important film in cinema history.
1.
It has no innovative special effects.
2.
It is not considered particularly important as a science fiction film.
3.
The beginning of the film is set before the appearance of man on Earth.
4.
The story is divided into time sections.
5.
Some pre-historic tools are found on the Earth’s surface.
6.
In the middle part of the film the two astronauts from the spaceship fight
7.
against the computer on board.
8. At the end of the film, astronaut Bowman travels back towards the planet Earth.
9. The end of the film is very clear and easy to understand.
10. The film is very long, with little dialogue and a lot of stunning music.
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223
UU6.1
1 ?????
Big screen Name ..................................................................................................
VOCABULARY
CONTENT
224
U 6.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
6. Nearly all the movies were presented with syncronised sound by the end of the…
a. 1940s.
b. 1910s.
c. 1930s.
d. 1920s.
7. One of these is not included as a literary element while analysing a film:
a. cultural context.
b. plot.
c. characterisation.
d. music.
8. Film title, director, screenwriter, and main cast are elements that appear in a film
worksheet as…
a. technical data.
b. general data.
c. themes and tone.
d. acting and characters.
9. Orson Welles was the director of…
a. Citizen Kane.
b. The Cabinet of Dr Caligari.
c. Roma Città Aperta.
d. The Piano.
10. The first woman to be nominated for an Oscar in the Best Director category was…
a. British.
b. Australian.
c. Italian.
d. American.
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3. Briefly talk about the start of animation films and their evolution. Use no more
than 10 lines.
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225
U 6.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the passage and decide if the sentences are true or false.
T F
1. During the Golden Age new genres of film were experimented and new stars
were born.
2. The film industry was controlled by 10 big studios.
3. There were also smaller studios.
4. The end of the silent movie age is the beginning of the Golden Age.
5. No actors became real movie stars.
6. The films produced belonged to different genres.
7. Hollywood did not have a good reputation.
8. The film industry was not one of the major businesses in the United States
in the 1930s.
9. During the Great Depression, movies were a way to escape from the problems
of everyday life.
10. The introduction of television did not have a negative impact on the Hollywood
film business.
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226
UU6.2
1 Small
????? screen Name ..................................................................................................
VOCABULARY
CONTENT
227
U 6.2 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
3. Briefly talk about the main purposes of documentaries, reality TV and news
programmes, using no more than 10 lines.
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228
U 6.2 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
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COMPETENCE
5. Read the passage and decide if the statements are true or false.
229
U 6.2 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
T F
1. Downton Abbey was broadcast first in the USA and then in the UK.
2. The title of the series comes from the name of the mansion where the family lives.
3. The story revolves around the events of the aristocratic Crawley family.
4. The story begins at the end of the 19th century.
5. The servants at Downton Abbey do not like their job.
6. Historical events are not presented directly.
7. The location where Downton Abbey was filmed is not real.
8. Some scenes are shot in some studios.
9. Many famous British actors are in the cast of Downton Abbey.
10. Despite its great success, Downton Abbey did not win any awards.
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230
UU6.2
1 Small
????? screen Name ..................................................................................................
VOCABULARY
CONTENT
231
U 6.2 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
5. Global warming, civil rights, history, and nature can be some of the issues presented in…
a. sitcoms.
b. cookery shows.
c. documentaries.
d. variety shows.
6. The first example of reality TV was…
a. The Thin Blue Line.
b. The Cove.
c. The Simpsons.
d. Queen for a Day.
7. Television is the best medium…
a. to experiment 3D technology.
b. to disseminate information and news.
c. to broadcast biased programmes.
d. to try new technical equipment.
8. When filming stage performances, the most difficult elements to manage are…
a. lights and sounds.
b. camera angles and music.
c. footage and cutaways.
d. equipment and post-production.
9. Walter Cronkite reported on…
a. the 11th September.
b. climate change.
c. the First World War.
d. the Apollo 11 Moon landing.
10. In 1975 Robert MacNeil with Jim Leher launched…
a. a special sitcom.
b. an educational programme.
c. a nightly news programme.
d. a quiz show.
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3. Briefly talk about the origin and the role of cartoons as a television show using no
more than 10 lines.
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232
U 6.2 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the passage and decide if the statements are true or false.
T F
1. RAI was the only broadcaster until the 1970s.
2. Some of the TV formats used today were created in the 1950s.
3. La Domenica Sportiva is a new sports programme.
4. It has been aired since the last decade.
5. The programme was not tested before it was broadcast.
6. Football is the main sport covered in the programme.
7. Some parts are dedicated to other sports.
8. In the beginning, there were no video clips about the matches.
9. Today, La Domenica Sportiva hosts many well-known personalities.
10. Today, there are concise discussions about goals and refereeing.
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233
UU7.1
1 ?????
People Name ..................................................................................................
VOCABULARY
CONTENT
234
U 7.1 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
3 What are the types and the tasks of newspaper journalists? Answer this question
using no more than 10 lines.
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235
U 7.1 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
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COMPETENCE
5. Decide whether the sentences are true or false and correct the false ones.
236
U 7.1 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
In addition, there are some general skills editors should possess, like creativity, curiosity,
familiarity with grammar and syntax, understanding of the current media.
Jobs for editors are predicted to decline by 3% from 2018 to 2028 because of a decline in
the news industry and losses of editing jobs at newspapers, magazines, and publishers.
However, following overall economic trends, some of these positions may become freelance
or contract jobs, rather than full-time employments.
Adapted from: https://www.thebalancecareers.com/writer-and-editor-526082
T F
1. Editors’ responsibility only concerns the written content.
2. They must be experienced writers before becoming editors.
3. They always have to proofread the work of writers.
4. Finding good titles is exclusively one of a writer’s tasks.
5. Editors have nothing to do with commercial aspects.
6. Nobody would get a job as an editor without an advanced degree.
7. Work experience in the field they would deal in is essential.
8. They must be able to write correctly and fluently.
9. It is probable that in the decade between 2018 and 2028 there will be a
decline of 3% per year in job openings for editors.
10. It is also probable that full-time employment will be replaced by other forms
of work contracts.
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237
UU7.1
1 ?????
People Name ..................................................................................................
VOCABULARY
CONTENT
238
U 7.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
3. What are the tasks of news editors, book editors and web editors? Answer this
question using no more than 10 lines.
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239
U 7.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
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COMPETENCE
5. Decide whether the sentences are true or false and correct the false ones.
240
U 7.1 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
A degree is essential. Many tend to have a degree in humanities subjects but a degree
which is specifically related to journalism may give candidates for a position an extra
advantage over the others.
The work is so competitive that it is wise to get a solid amount of experience through
internships, vacation schemes or industrial training placements.
Adapted from: https://www.allaboutcareers.com/careers/job-profile/newspaper-journalist
T F
1. Some newspaper articles aim at influencing people’s opinions.
2. Journalists should always have stories to submit to the editor for approval.
3. Once journalists have collected information from their sources, the following
step is to write an article.
4. Respecting deadlines is mandatory for journalists.
5. Editors always write credits and captions related to the articles.
6. Journalists work across a 24-hour period, according to a pre-established schedule.
7. The amount of time they spend on travelling is variable.
8. Journalists regularly receive hostile receptions.
9. Journalists need a specific degree in the subjects they write about.
10. Being experienced is an advantage but it is not mandatory.
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UU7.2
1 ?????
Tools Name ..................................................................................................
CONTENT
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U 7.2 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
3. What are the characteristics and main uses of Web 1.0, 2.0 and 3.0? Answer this
question in no more than 10 lines.
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4. Briefly answer these questions.
1. Which cameras are used by professionals and which by non-professional people?
2. What sounds are captured by omni-directional mics or directional ones?
3. What lights form a three-point lighting system?
4. Why is rotogravure particularly suitable for printing magazines and postcards?
5. What kind of process do laser printers use?
6. What kind of letters and characters did Gutenberg invent?
7. What was the turning point in the publication of newspapers, magazines and books?
8. How do film lovers usually use web platforms?
9. What are clouds?
10. What characterised the passage from the first to the second generation of computers?
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U 7.2 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read this passage and say if the sentences are true, false or not given in the text,
then correct the false ones.
Video Cameras
Video cameras come in different versions for different users and different purposes.
• Professional video cameras are used in TV productions, either based on studios or
mobile for EFP (electronic field production). This kind of camera generally records red,
green and blue separately through three different sensors and is controlled manually.
• PTZs, or pan-tilt-zoom cameras*, are usually employed in CCTV (closed-circuit television).
This kind of camera is small and can easily be hidden. As it can work without an
operator, it is often used in dangerous or inaccessible places, for example in the
presence of toxic chemicals or radiations. Its main use is for security, monitoring,
surveillance.
• Camcorders, which include a camera, a VCR and/or built-in recording devices, are mobile
and able to record sounds from all directions. They are not only largely used in home
filming, but also for TV production and ENG, which means electronic news gathering.
• Built-in video cameras are present in almost all smartphones, some even with a 4K
resolution.
• Webcams are present in many computers or can be added to them and allow live videos.
• Last but not least, are special camera systems designed for scientific research, robotics,
artificial intelligence, or medical applications. They are used, for example, in satellites or
space missions.
T F NG
1. You can use the same camera for all purposes.
2. Professional video cameras are only used indoors.
3. Professional video cameras usually have automated control.
4. PTZs are often used for security purposes.
5. PTZs are smaller than camcorders.
6. Camcorders are often used to collect information.
7. Camcorders need extra audio devices.
8. Smartphones always have low-resolution built-in cameras.
9. Webcams are often used in video conferencing.
10. Scientific research requires special PTZs.
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????? Name ..................................................................................................
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CONTENT
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U 7.2 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
3. What are the main tools used to print on paper? Answer this question in no more than 10 lines.
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4. Briefly answer these questions.
1. What does the dolly shot technique 6. In which phase of the Web did users
consist in? start to create content?
2. Why are shock mounts used? 7. What can students use web
3. Why are camera lights used? platforms for?
4. What is the difference between a CIJ 8. How do photo printing machines
and a DOD inkjet printer? work?
5. What does a 3D photocopier do 9. What did Charles Babbage invent in
differently from any other type of the 1830s?
printers? 10. What characterised Web 1.0?
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U 7.2 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read this passage and say if the sentences are true, false or not given, then correct the
false ones.
Wikipedia
Wikipedia, abbreviated as WP, is a multilingual, online encyclopaedia created and
maintained as an open collaboration project by a community of volunteer editors, using
a wiki-based editing system. It is the largest and most popular general reference work on
the World Wide Web. It is also one of the 15 most popular websites ranked by Alexa, as
of June 2020. It features exclusively free content and no commercial ads and is owned
and supported by the Wikimedia Foundation, a non-profit organisation funded primarily
through donations.
Wikipedia was launched on January 15, 2001 and was created by Jimmy Wales and Larry
Sanger. Sanger coined its name as a container of the words «wiki» (Hawaiian for
«quick») and «encyclopaedia”. Initially, an English-language encyclopaedia, versions of
Wikipedia in other languages were quickly developed. With 6.1 million articles, the English
Wikipedia is the largest of the more than 300 Wikipedia encyclopaedias. Overall, Wikipedia
comprises more than 53 million articles attracting 1.5 billion unique visitors per month.
In 2005, Nature published a peer review comparing 42 hard science articles
from Encyclopædia Britannica and Wikipedia and found that Wikipedia’s level of accuracy
approached that of Britannica, although critics suggested that it might not have fared so
well in a similar study of a random sampling of all articles, or one focused on social science
or contentious social issues. The following year, Time magazine stated that the open-door
policy of allowing anyone to edit had made Wikipedia the biggest and possibly the best
encyclopaedia in the world and was a testament to the vision of Jimmy Wales.
Adapted from: https://en.wikipedia.org/wiki/Wikipedia
T F NG
1. Wikipedia uses a cloud-based system.
2. Alexa ranked it as the most popular website in June 2020.
3. It is supported through a foundation and the income deriving from commercials.
4. Its creation dates back to the beginning of the 21st century.
5. Wikipedia is a Hawaiian word.
6. It was originally in English but soon the French and Spanish versions developed.
7. The 300 Wikipedia encyclopaedias have 6.1 million articles.
8. Wikipedia attracts one and a half billion English-speaking visitors per year.
9. Some critics don’t share Nature’s opinion on the level of accuracy of the articles.
10. Time magazine approves of the system based on a community of volunteer editors.
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UU7.3
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Software Name ..................................................................................................
CONTENT
2. Performance capture is the recording of the movements of the whole body, ......................................
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3. To eliminate a person you don’t want people to see in a photo, you can ...............................................
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6. Even if designers usually use more advanced extra ones, all desktop operating systems
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U 7.3 •TEST 1 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
Glossary:
collodion: collodio (usato come legante per emulsioni fotosensibili)
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UU7.3
1 Software
????? Name ..................................................................................................
VOCABULARY
CONTENT
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U 7.3 •TEST 2 Name ................................................................................... Class .................... Date ..................................................
COMPETENCE
5. Read the passage and say whether the sentences are true or false, then correct the false ones.
Glossary:
to handle: gestire
to paste-up: incollare
unobtrusive: discreto
*draft layout on paper for materials to be printed, showing the position and size of
the headlines, texts, images, etc.
T F
1. Editorial guidelines and purposes determine news design.
2. The order in which news stories appear in a newspaper depend on their length.
3. Advertising must be put in a central position.
4. The elements that form a page are arranged by desktop publishing software.
5. Layout dummies appeared with the digital pre-press pagination.
6. Before using desktop publishing software, typesetters had to calculate
the lengths of copy for any chosen width.
7. The manual work of typesetters made the layout more precise and accurate.
8. Phototypesetters were workers who printed columns of type.
9. Paste-up was easier than typesetting but still required layout planning.
10. Direct to plate pagination simplified newspaper production.
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KEYS • UNIT TESTS
2.
Unit 1.1 TEST 1 p. 149 Sample answer
A communication channel is the medium used to
1. transfer a message from a sender to an audience.
1. i; 2. h; 3. j; 4. b; 5. l; 6. e; 7. g; 8. k; 9. c; 10. Choosing the best communication channel is
d. Extra: a, f. crucial to communicate the right message and
achieve the desired outcome. Each message
2. works better with a different communication
Sample answer channel. We need to know who our audience is
Communication may be formal, when it follows and what our message and our goal are in order
codified official rules, or informal, when it is to choose the most appropriate channel. We can
more familiar and casual. It can be verbal if group channels into three different categories
information is transmitted through spoken (print, broadcast and media) and classify them as
words, or non-verbal when interaction is new or traditional, according to whether they are
through facial expressions, gestures or body in a digital form or not.
movements and posture. Communication can
also be: upward or downward, according to the 3.
higher or lower level of the receiver compared 1. c; 2. d; 3. c; 4. d; 5. b; 6. a; 7. c; 8. c; 9. a;
to the sender; horizontal, when the exchange 10. d.
of information is between peers; diagonal
if any person from any hierarchical position 4.
can communicate with any other person; 1. universal; 2. cultural; 3. understand; 4. emotions;
intrapersonal when it is with oneself, in one’s 5. tropical; 6. distances; 7. communicate; 8.
head; and interpersonal, when the interaction messages; 9. protest; 10. social; 11. problem;
is between two or more people. 12. solution; 13. goal; 14. moral; 15. human; 16.
childhood; 17. anger; 18. slow; 19. rhythm; 20.
3. peace;
1. a; 2. c; 3. c; 4. c; 5. d; 6. a; 7. c; 8. c; 9. b;
10. b. 5.
1. It is always done through sight; 2. Facial
4. expressions, gestures, eye contact; 3. Many
1. communication; 2. sender; 3. message; 4. business organisations are using visual techniques
sender; 5. message; 6. encode; 7. channel; 8. to present and share information; 4. It is someone
message; 9. channels; 10. non-verbal; 11. receiver; who is able to retain information better when it
12. receiver; 13. decode; 14. communication; 15. is presented visually; 5. Yes, 65% of people are
receiver; 16. receiver; 17. feedback; 18. receiver; estimated to be “visual learners”; 6. To help
19. sender; 20. feedback. people to retain more information and make better
decisions; 7. Because it takes longer to represent
5. information in a visual way; 8. Because you need
1. F, Media channels are necessary to mass professionals for a professional result; 9. Since
communication; 2. F, Audience tends to be diverse; receivers may not understand the whole meaning
3. T; 4. T; 5. F, The opposite is true; 6. F, Facebook, of the presentation; 10. Visual communication can
Twitter and other social media are generally used create ambiguity, situational problems and delays
for interpersonal communication; 7. T; 8. T; 9. F, It in making decisions.
is easy to identify its five steps; 10. T.
254
elements and text; 2. T; 3. T; 4. F, It’s about is known as one of the founding members of the
communicating through visuals; 5. F, Graphic ‘Swiss Style’ of graphic design.
design is a collaborative profession; 6. F, He was
American; 7. T; 8. F, Humanity has always been 4.
attracted to visual communication; 9. T; 10. T. 1. They are immersive technologies; 2. They
integrate virtual and real-world elements; 3.
3. They pull people into an immersive and engaging
Sample answer reality; 4. Thanks to their creativity they are going
Graphic designers create visual concepts and to be their architects; 5. Gaming, healthcare, the
are able to design eye-catching visuals that are construction industry, engineering and cultural
easily understood. They do not work alone, on projects; 6. They can make game settings and
the contrary they coordinate the work of a team scenarios breath-taking; 7. They have used 3D
of professionals like writers, web developers, modelling tools and visualisation techniques; 8.
photographers and printers. They also have They help with surgery simulation and robotic
some particular abilities: first of all, excellent surgery; 9. Mobile communication has made
communicative skills and a deep passion for their many projects possible; 10. Graphic designers
job, but they also have to be flexible, sensible and will be able to avoid the tiresome and time-
accurate. Graphic designers are self-confident consuming prototyping processes they currently
and able to show their results to clients, but, at use.
the same time they have to be open to feedback.
5.
4. Sample answer
1. media; 2. receipts; 3. goods; 4. paper; 5. century; Immersive technologies, like virtual, augmented
6. Web; 7. processes; 8. Interface; 9. design; 10. or mixed reality, represent an unheard-of
challenge. Extra words: Interior, responsibility. revolution and have become very present in our
everyday life. Thanks to their creativity, graphic
5. designers are going to become the architects of
1. T; 2. T; 3. F, Graphic design was inspired by this revolution. They have already impacted on
technology, printing and photography; 4. F, They gaming, the construction industry, healthcare and
became alternatives to television, film and print; robotic surgery. However, these new technologies
5. T; 6. F, They changed their approach; 7. T; 8. have also changed the way designers view their
T; 9. T; 10. F, it involves different processes. own world and the way they create.
1. 1.
1. b; 2. c; 3. a; 4. b; 5. b; 6. a; 7. a; 8. b; 9. a; 1. i; 2. j; 3. a; 4. h; 5. f; 6. d; 7. b; 8. c; 9. g;
10. c. 10. b.
2. 2.
1. a; 2. b; 3. a; 4. a; 5. c; 6. b; 7. c; 8. b; 9. a; 1. c; 2. a; 3. d; 4. a; 5. c; 6. d; 7. a; 8. a; 9. a;
10. c. 10. b.
3. 3.
Sample answer Sample answer
Paul Rand was born in 1914 and during his life he Sensory marketing is a branch of emotional
created timeless icons such as the IBM and ABC marketing. It refers in particular to strategies
television logos. He is the author of a famous focusing on all the five human senses used to
book, Thoughts on Design, that has greatly reach potential customers’ senses and influence
influenced graphic design and continues to be their purchasing decisions by working on how
used to educate students and professionals the brand of the product advertised makes them
today. feel. One or more of the five human senses are
Paul Rand was part of a movement in the involved to create an emotional association like
1940s and 50s in which American designers tools to create a brand image.
came up with original styles using clever, fun,
unconventional, and risky approaches to the 4.
use of shapes, space, and contrast. Today, he 1. Not at all. Emotions and feelings influence
255
purchasing decisions; 2. In the Fifties; 3. Not people, therefore a very amusing ad can help
at all. That would push consumers not to buy memorise the brand name; 10. Because it
or forget the brand name; 4. In order to study focused on human relationships, which wasn’t so
potential customers in a more effective way; 5. common back then.
Because what makes you laugh can be easily
remembered; 6. It is an invented word to refer to 5.
an amusing play on words; 7. Because of their big 1. F, It is based on one thing, happiness; 2. T;
heads; 8. Wisdom; 9. Because they are cute and 3. F, It can be used to make potential customers
inspire positive feelings; 10. Walt Disney. feel good if they buy this instead of that; 4. T; 5.
F, The customer is considered as a hero; 6. T; 7.
5. F, it is an attempt at empowerment; 8. T; 9. F,
1. F, Sound was also involved; 2. F, They should Mad Men is the title of a TV series; 10. T.
be and have always been prioritised; 3. F, This
passage isn’t nostalgic at all. On the contrary,
it favours cutting-edge innovations; 4. F, There
are: aromas in cinemas and outdoor sites and Unit 2.2 TEST 1 p. 164
mouthphones, for example; 5. F, The passage
was written by a person who knows advertising 1.
strategies very well and wrote a book on 1. c; 2. e; 3. f; 4. i; 5. j; 6. a; 7. h; 8. b; 9. g;
advertising; 6. T; 7. T; 8. NG; 9. T; 10. F. 10. d.
2.
1. b; 2. c; 3. a; 4. d; 5. c; 6. d; 7. a; 8. b; 9. c;
Unit 2.1 TEST 2 p. 161 10. b.
1. 3.
1. j; 2. c; 3. d; 4. i; 5. h; 6. e; 7. f; 8. a; 9. b; Sample answer
10. g. The marketing process consists of four main steps:
the first is called Market Segmentation, which
2 makes it easier for marketers to personalise their
1. b; 2. a; 3. b; 4. c; 5. b; 6. c; 7. d; 8. c; 9. a; marketing campaigns because they can identify
10. d. the ideal consumer and check on consumer’s
needs. The following step is Marketing Mix,
3. which refers to the set of actions that a company
Sample answer uses to create and promote its brand or product
It is an appeal which focuses on making people on the market. The third step is Marketing
feel guilty for something, for example eating Implementation, which is very important to the
habits or unhealthy attitudes. Guilt appeal is used success of any company because it is responsible
very often because people are very attentive to for putting the marketing strategy into action. The
their appearance and health. Therefore, the more last step is Marketing control, which ensures the
you focus on looking younger, the more people achievement of the strategic objectives adopted
will buy your ointment, cream and the alike. Ads by the company.
advertising fat-free foods and exercise equipment
exploit guilt appeal as well. 4.
1. Marketing can be defined as the sum of the
4. activities involved in directing the flow of goods
1. Because it is a good way to grab attention; and services from producers to consumers;
2. Because everyone wants their desires to 2. The 7 P’s are the seven steps involved in
come true and the most shared desire is to be the marketing process, necessary to develop a
happy; 3. Because they share the same needs product and sell it to consumers; 3. No, it isn’t.
and difficulties as shown in the ad; 4. Because it It can also promote voluntary and non-profit
makes people feel good and skillful; 5. By using associations, people and ideas; 4. Strategy is the
fear, a feeling shared by everyone, and offering key word; 5. Goods are physical objects such as
a solution; 6. Yes, that’s why colours and catchy food, clothes or cars; 6. Services cannot be seen,
jingles are used so often by advertisers; 7. tasted, felt, heard, or smelled before they are
Dietary products or products which can help stop bought; 7. The three P’s refer to people, physical
unhealthy habits in particular; 8. No, customers evidence and processes; 8. “Yes, we can”; 9.
are influenced by what branding and ads push They are: each ad must make a proposition, the
them to desire; 9. Because smartphones distract proposition must be unique, and the proposition
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must sell; 10. It was the one for M&M’s, “It melts very important; the 3 added refer to services
in your mouth, not in your hands”. in particular; 7. Marketing can also promote
people and ideas; 8. It refers to the possibility of
5. exploiting the digital information we all produce
1. F, He was American; 2. F, He was interested in for marketing reasons; 9. A USP explains a single
law and history; 3. T; 4. T; 5. F, 1934; 6. F, Ted quality of a product that makes it stand out from
Bates created his own agency; 7. T; 8. T; 9. F, Too competition; 10. Saatchi&Saatchi is a well-known
many messages; 10. T. British advertising agency. Since the 1970s it has
created influential campaigns with memorable
slogans.
2.
1. c; 2. b; 3. a; 4. a; 5. b; 6. d; 7. a; 8. b; 9. c;
10. d. Unit 2.3 TEST 1 p. 170
3. 1.
Sample answer 1. i; 2. f; 3. j; 4. h; 5. a; 6. e; 7. b; 8. d; 9. c;
Marketing-mix refers to the actions that a 10. g.
company uses to promote its brand or product in
the market. 2.
It is made up of four elements: 1. c; 2. b; 3. a; 4. d; 5. a; 6. a; 7. c; 8. d; 9. d;
• product, which refers to what can be available 10. b.
to customers in terms of quality, packaging,
design and brand; 3.
• price, determined on the basis of: costs, Sample answer
competition, quality/per formance level, Merchandising is the practice and process of
market value, payment plans, discounts, image displaying and selling products to customers
and reputation of the brand; in a retail store. Retailers use merchandising
• place, which considers the distribution of the to influence purchases and, at the same time,
product; reach their sales goals. A variety of factors such
• promotion, that refers strategies and channels as product quality and available space may
to adopt among the various possibilities, e.g. influence merchandising strategies. The aim
sales force, advertising, sales promotions, is to make people buy something else linked
and public relations. to the main product: customers enter the shop
to buy something, and if the merchandising is
successful, they will leave with more than just the
4. product they had in mind.
1. The process of marketing can occur only when
there are at least two parties, each of whom has 4.
something to offer; 2. Yes, they can, because 1. Because it is essential to recognise the
institutions such as hospitals, schools, and product; 2. A trademark is the registered name
museums may want to make their products or that represents a company from a legal point of
services appealing to as many people as possible; view; 3. Yes, it is; 4. Because colours can create
3. Modern marketing developed in the early a visual connection to the company’s values; 5.
20th century; 4. They are Market Segmentation, Red can convey feelings of passion, anger and
Marketing Mix, Marketing Implementation, and excitement; 6. A brand mascot can be a live
Marketing control; 5. Services don’t produce a animal, a person, an object or a puppet; 7. They
commodity and are intangible, goods are tangible are people who have become famous on social
possessions; 6. Because the 4P’s were designed media by creating a relationship with their public
at a time when businesses were more likely to and, because of this, they can influence their
sell goods rather than services and the role of buying decisions; 8. A label can give information
customer service in helping brand development on use, transport, storing, recycling and shelf life
was not so well known, but then services became of the product; 9. In order to obtain promotional
257
benefits or in order to link their name to something a particular company to consumers; 5. Because
people care about or are fond of so as to improve the human brain easily associates things with
its reputation; 10. Product placement is a form of visuals of heroes and characters and mascots
advertising in which branded goods and services bring visual, verbal and auditory elements to the
are featured in a video production that targets a brand, which enables users to remember a brand
large audience. and boost brand recognition, brand identity and
brand awareness; 6. They should keep in mind:
5. the celebrity suitability with the brand image,
1. T; 2. T; 3. F, Using the appropriate colour; 4. their credibility and their profession; 7. It refers
F, The colour sends a message before the viewer to marketing which is not done explicitly but by
understands what is being promoted; 5. T; 6. F, inserting it in a more covert form inside another
Evolutionary theories believe that man learnt to show or programme; 8. Because it includes a
associate red with danger very early; 7. F, It may symbol and letters to form a phrase; 9. Because
be used, if it is linked to a positive message; 8. in the seventies the city was associated with
T; 9. F, Their messages are sent subconsciously; violent crime, and it had to be rebranded; 10. It
10. T. represents speed, motion and victory.
5.
1. F, The history of logos goes back to ancient
Unit 2.3 TEST 2 p. 173 family hieroglyphs and symbolism; 2. T; 3. F, The
population started to grow in the High Middle
1. Ages (900 – 1300 AD); 4. T; 5. T; 6. T; 7. T; 8.
1. d; 2. g; 3. a; 4. j; 5. h; 6. c; 7. b; 8. i; 9. e; T; 9. T; 10. F, The text aims at demonstrating
10. f. that logos were created because there were many
illiterate people.
2.
1. c; 2. d; 3. b; 4. d; 5. c; 6. a; 7. d; 8. b; 9. a;
10. c.
Unit 3.1 TEST 1 p. 176
3.
Sample answer 1.
The external look of a product is the first thing 1. f; 2. e; 3. a; 4. h; 5. c; 6. i; 7. j; 8. g; 9. d;
a potential customer can see, and so it can be 10. b.
a great marketing instrument. Good packaging
reflects the brand’s identity and adds value to a 2.
product. Aesthetically pleasant packaging should 1. A typeface is a set of characters of the same
encourage the purchase. Graphic designers are design; 2. Types can be classified into serif,
ver y often asked to design packaging which sans serif, script, monospaced and display; 3.
must include labels and take into consideration By merging a primary and a secondary colour; 4.
shapes and colours. Some packages have They include the different shades, tints and tones
become an icon and have remained the same of a single hue; 5. Picture is the term used for
for years. Today, sustainable packaging is any visual representation of a person, object or
becoming a higher priority for both brands and scene, while image refers to an object, modified
consumers. Most companies are studying how or created using a computer; 6. To get an easily
to use recyclable and biodegradable materials understandable overview of a topic; 7. Layout
for their packaging with a long-term respect for refers to the position of all the required elements
the environment. onto the page, composition implies arranging
elements visually to tell a story; 8. White space
4. helps to define and break up different sections
1. The word “brand” dates back to the days when better; 9. Product origin, manufacturer, shelf-life,
shepherds placed marks on their sheep to identify disposal rules, instructions for use, warnings,
them from the property of other shepherds by environmental advice, and advertising; 10. Brand
placing a hot iron against the sheep to burn labels, descriptive labels, grade and informative
a unique mark on them; 2. A trademark is the labels.
registered name that represents a company from
a legal point of view, a brand name represents a 3.
product but also the business – and therefore its 1. F, Its success relies upon the arrangement
reputation – in public; 3. White; 4. It refers to the of objects, text and pictures; 2. T; 3. T; 4. F,
logo and colours that immediately bring to mind Script types can be connected, half connected or
258
unconnected; 5. F, Neutral colours are black, white affixed to a container or product, on which the
and grey; 6. T; 7. F, They are two complementary logo, information or symbols about the product
colour pairs; 8. T; 9. T; 10. T. are printed; 9. Wordmark, letter mark, iconic and
brand mark; 10. It is a label warning about a
4. product being dangerous.
Sample answers
Logos are symbols that allow customers to 3.
identify a brand, helping to establish credibility 1. F, They are fonts; 2. F, They’re mostly used for
and distinguish the company on the market. large-sized headings; 3. F, They include a colour
They can be of four different types: 1. wordmark and the two colours beside its complement; 4.
logos, with only text, and a single typeface to T; 5. T; 6. T; 7. T; 8. T; 9. T; 10. F, It gives a
express brand identity; 2. letter mark logo, with a judgment.
monogram or anagram that represents the initials
of the company name; 3. brand mark logo, with 4.
strong, often abstract graphics that highlight a Sample answer
product or service; 4. iconic logo or combined Helvetica is one of the typefaces most widely
logo, with a combination of text and image. used by graphic designers for its neutral display
which makes it suitable for most types of design.
5. Created in 1957 by the Swiss designer Max
1. Johannes Gutenberg; 2. It was Blackletter. It had Miedinger with the aim of creating a font clear to
thick vertical lines and thin horizontal connectors; the eye, in 1960 it was named Helvetica in order
3. It was Nicholas Jenson who was inspired by to ensure greater marketability internationally.
the lettering found on Ancient Roman buildings; Helvetica is often used on web pages, in printed
4. It was created to fit more letters onto the materials and as a typeface for logos.
page and save money; 5. William Caslon created
Old Style John Baskerville created Transitional 5.
typefaces and Didot and Bodoni created Modern 1. It is a strong element of visual communication; 2.
typefaces; 6. They have very thin serifs and Because human beings are incredibly sensitive to
extreme contrast between thick and thin strokes; colours; 3. They are used to evoke specific states
7. Because he decided to remove the seraphs of minds, creating particular feelings; 4. Sure,
entirely and made a new kind of typeface called they have an important role in communication;
sans-serif; 8. Because there was a new need for 5. It is a way to convey information quickly; 6. It
typefaces suitable for advertisements; 9. It was helps to speed up any kind of search; 7. Since
invented as a reaction to the complexity of 19th brand identity is often linked with colours, they
century typefaces; 10. The introduction of the help to establish identity; 8. Yes, they can. They
computer. enhance relationship and association; 9. By using
different colours in users’ interface; 10. Colours,
bold and highlighting.
259
an impression of free falling; 5. A magazine is 2.
divided into: cover, editorial pages, insights and 1. A multipanel layout is divided into different
fixed sections; 6. They were created as a form sections with the same regular shape, while a
of social satire or as a form of entertainment circus layout refers to the irregular composition
for children; 7. It contains the words spoken or of its elements; 2. Because they are more
thought by a character; 8. Flickering lettering frequently handled and they have a longer
expresses fear or coldness; 9. The smallest shelf life; 3. Its weight, transparency, visual
size of a poster is about 28x43 cm, also called appearance, thickness, degree of opacity, touch
ledger; 10. Considering people are usually on effect and durability; 4. Because it has to capture
the move when they read billboards, they have the customers’ interest, pushing them to get that
from five to ten seconds to read them. book, among hundreds of others, from the shelf;
5. A back cover includes a short description of the
3. book, some biographical notes on the author, the
1. T; 2. F, It’s used to have them focus on the publisher’s name and/or logo, the barcode and
headline, or on specific words or sections of the ISBN code; 6. It is a fundamental element of
the text; 3. F, Only sometimes; 4. T; 5. F, They page layout which consists of associating things
generally use a formal language; 6. T; 7. T; 8. T; with one another to emphasise their similarity; 7.
9. F, Posters are meant to be read, understood A broadsheet newspaper is bigger, more serious
and remembered, while billboards have to be very and reliable, in a more formal language; a tabloid
simple and striking; 10. F, It has to create desire is smaller, with more informal language covering
and interest in the audience. more trivial and gossipy news; 8. They grew in
popularity especially from the post-war period
4. onwards; 9. They must: attract the attention of
Sample answer the public using characters or scenes from the
There are some distinct and necessary parts in a plot; they must combine an attractive design with
book. Each of them has to be well designed. The an iconic representation of the themes of the
front cover contains the title, the author’s name, film; they must create desire and interest and
the press edition number and the publisher’s they must recall the original film, if it’s a sequel;
name and logo. It has to be captivating and 10. It was inspired by the cover of the book,
interesting in terms of layout features. The spine which was taken from an illustration of a skeleton
usually contains information like title, author of a Tyrannosaurus Rex in the gift shop of the
and publishing house. The body is the text itself American Museum of Natural History.
and great care is required in the choice of the
formatting. The back cover generally includes a 3.
short description of the book, some biographical 1. b; 2. a; 3. b; 4. b; 5. a; 6. a; 7. b; 8. c; 9. b;
notes on the author, the barcode and the ISBN 10. a.
code.
4.
5. Sample answer
Sample answer Posters are designed to be attached to a wall
The most relevant tips to structure an effective or board and are meant to promote an idea or
design composition are: using grids to give order an event, while billboards are placed around
and speed up the process of graphic design; automotive and pedestrian high-traffic areas so
using focal points thanks to scale and emphasis they contain very few words since people don’t
to help catch the reader’s attention; search the have much time to read the text. There are
harmony of elements balancing them, thanks to lots of official standard sizes for posters, while
negative space too. Observe and respect the rule billboards are usually one size only. Posters and
of thirds and the rule of odds; they help in placing billboards have the same essential elements: the
the elements and getting a natural harmony title; the graphic; the white space and the text.
between them.
5.
Sample answer
Comic books are the fastest-growing category in
Unit 3.2 TEST 2 p. 183 the publishing industry for different reasons: 1.
They help people learn to love reading and they
1. are a great help in developing the reading skills
1. paesaggio; 2. rilegato; 3. rivista; 4. required to comprehend texts with higher levels
intestazione; 5. vignetta; 6. titolo; 7. editore; 8. of difficulty; 2. They help us to think differently:
flusso; 9. trama; 10. cartoncino. they require readers to create meaning using
260
“multiple modalities” of different components –
visual, spatial, and textual; 3. Their stories are Unit 3.3 TEST 2 p. 189
socially relevant since they constantly reflect new
social issues and concerns. 1.
1. g; 2. j; 3. a; 4. b; 5. c; 6. i; 7. d; 8. h; 9. e;
10. f.
261
Unit 4.1 TEST 1 p. 192 Unit 4.1 TEST 2 p. 194
1. 1.
1. f; 2. j; 3. a; 4. b; 5. i; 6. e; 7. c; 8. h; 9. d; 10. g. 1. g; 2. j; 3. a; 4. b; 5. c; 6. i; 7. d; 8. h; 9. e;
10. f.
2.
1. It is a set of techniques used for the purpose 2.
of persuading the public to respond in a certain 1. They aim at engaging or surprising people in
way toward what is advertised; 2. Attention, order to influence them to buy or try something;
Interest, Desire and Action; 3. The emergence of 2. Satisfaction and Confidence; 3. To inform,
consumerism; 4. There are five levels; 5. Pioneering persuade and remind the audience about the
advertising refers to the launch of a new product product or service advertised; 4. It studies what
on the market; 6. Conceiving the message and motivates consumers to buy; 5. To analyse
creating the USP; identifying the potential target customer needs; 6. It is used to promote social
market; designing the advertising campaign; welfare; 7. It stands for Unique Selling Proposition;
choosing the media and purchasing the advertising it is what distinguishes a product from competition;
space; 7. The characteristics of the product that 8. It is a planned strategy made up of similar ads
most distinguish it from its competitors; 8. That it with a unique style conveyed across different and
can be perceived differently by different cultures; multiple media for a set period of time; 9. It’s a
9. Defining the market, deciding on the available global campaign with local cultural influences
budget, choosing the best media and creating incorporated into the final product; 10. Print media.
a strategy; 10. It is a selling strategy aiming at
increasing awareness and consideration of the 3.
brand or product and building up the market. 1. d; 2. c; 3. b; 4. a; 5. b; 6. b; 7. c; 8. b; 9. a;
10. c.
3.
1. F, It’s Attention; 2. T; 3. T; 4. F, They are at the
lowest level; 5. F, Comparative ads are ads where
two brands are explicitly compared, competitive
4.
Sample answer
ads are ads where brands are not explicitly
By evoking important values, Mulino Bianco
named; 6. T; 7. F, To regulate communication on
has entered the stor y of advertising, becoming
the Internet and social networks; 8. F, It aims at
a common language expression too. The
obtaining loyalty from consumers; 9. T; 10. T.
commercials, thanks to the setting, the amazing
4. narration and the music and direction, bring a
Sample answer dream to mind: abandoning impossible city life,
The IAP (Istituto dell’Autodisciplina Pubblicitaria) letting yourself be embraced by Mother Nature
approved the Self-Regulatory Code of Marketing in a place where you find yourself and you and
Communication in March 2020. It is compulsory your per fect family love each other all together..
for agencies, consultants, media, and sales
houses. Its objective is to make sure commercial 5.
communications are honest, true and correct and 1. The Advertising Standards Authority in the
its main features include: fairness in marketing UK, an independent regulator of advertising for
communication, avoidance of misleading all the media; 2. It was established in 1962;
marketing, appropriacy of terminology, avoidance 3. Its work includes acting on complaints and
of violence, vulgarity and indecency, respect proactively checking the media to take action
of moral, civil and religious beliefs and human against misleading, harmful or offensive
dignity, avoidance of denigration especially where advertisements; also, ensuring ads are legal,
children and young people are concerned. The decent, honest and truthful according to the
“Digital Chart” completes the Code to regulate Advertising Codes; 4. Each year there are many
marketing communications and endorsements millions of ads, direct marketing communications,
made by influencers and celebrities on the sales promotions and digital communications
Internet and on social networks. in the UK; 5. The CAP is the Committee of
Advertising Practice, the BCAP is the Broadcast
5. Committee of Advertising Practice. They write,
1. cities; 2. Britain; 3. agriculture; 4. farms; revise and enforce the Advertising Codes; 6. To
5. steam; 6. steamships; 7. consumerism; 8. put down rules for advertisers, agencies and
capitalist; 9. factories; 10. mass-scale. Extra media owners to follow; 7. Organisations that
words: iron, advantages. represent advertisers, agencies, media space
262
owners, direct marketers and broadcasters;
8. The Codes contain wide-ranging rules Unit 4.2 TEST 2 p. 200
designed to ensure that advertising directly
by implication, by omission, by ambiguity or 1.
exaggeration does not mislead, harm or offend 1. i; 2. e; 3. a; 4. j; 5. b; 6. c; 7. h; 8. d; 9. f;
the consumers; 9. Alcoholic drinks, health and 10. g.
beauty claims, children, medicines, financial
products, environmental claims, and gambling; 2.
1. They are prefixes used to increase the value,
10. Direct marketing and prize promotions.
quality and importance of the product; 2. It is
an apparently contradictory sentence to point
out some underlying truth; 3. It is an expression
Unit 4.2 TEST 1 p. 197 which has a hidden meaning; 4. Because red
grabs attention and symbolises energy, power,
1. vitality and vigour; 5. It expresses elegance and
1. g; 2. j; 3. a; 4. f; 5. b; 6. c; 7. d; 8. e; 9. h; 10. i. power; 6. An emotional connection; 7. It is the
breaking down of the customers’ journey in 5
2. stages, from the “awareness” to the “purchase”
1. To make them more persuasive, direct and stage, when they’re ready to buy a product; 8.
personal; 2. Both are comparisons, but the first is To attract consumers’ attention and create a
not explicit; 3. It is when a word or phrase is used strong emotional impact; 9. It depends on the
in two different senses, deliberately exploiting graphic composition of the different elements
ambiguity between similar-sounding words; 4. that compose the ad; 10. Because it was
Life and joy and it is associated with sunshine commissioned during the second world war
and happiness; 5. Purity, clarity and cleanliness; with the aim of increasing the morale of female
6. It increases attention, enhances chances to be workers producing war goods.
noticed and understood and stimulates positive
moods; 7. Users’ behaviour, the marketing funnel 3.
and the contribution generated by marketing 1. a; 2. b; 3. c; 4. a; 5. a; 6. c; 7. c; 8. b; 9. b;
activities; 8. It consists of text and visuals; 9. 10. b.
They can be photos, pictures or images; 10. He
provokes the observers and stimulates their 4.
attention. Sample answer
In a printed ad, the format depends on the
3. graphic composition as well as on the different
1. F, It is a substitution of the word with something elements that compose the ad: the headline is
closely referred to it; 2. T; 3. F, It indicates the a very brief text which summarises the message
level of response of individuals; 4. T; 5. F, Some and contains the claim; the body copy contains
are optional; 6. T; 7. T; 8. T; 9. F, Time slots are most of the wording and includes information
important for an effective spot; 10. F, He was about the product; the pay off, or tagline, is the
represented as a tall, thin man or as an elf. final phrase, easily remembered; the caption is a
descriptive title below the illustration; the brand
4. is the corporate name of the company; the logo
Sample answer is the symbol identifying the company; the visual
A figure of speech or rhetorical figure is a literary is the main illustration of the ad; the pack shot
or stylistic device in which the use of a word or is the product packaging visualisation; the call
a phrase diverges from its usual meaning. The to action is the invitation to purchase or at least
most common are: the hyperbole, an exaggeration acquire information on the product.
used to give emphasis, the metaphor, a powerful
comparison, the metonymy, referring to something 5.
by the name of something else, the paradox, an People - Age, gender, ethnicity,
apparently contradictory idea to point out some Representations popularity, clothes, facial
underlying truth, and the simile, an explicit expressions, gestures
comparison between two things. Comment on the Setting of the ad
surroundings
5.
1. advertising; 2. opposed; 3. life; 4. Technical codes Hierarchy of elements,
consumerism; 5. artists; 6. mass; 7. commerce; use of colours, specific
8. surrealist; 9. characteristics; 10. relationship. techniques
263
lighting; 4. Photojournalism uses photographs
Text codes Slogan, font, logo and
to tell stories or to report on people and events;
(2 points) its position, information
5. Robert Capa, David “Chim” Seymour and
included, size of the image
Henri Cartier Bresson founded the Magnum
and text
Photo agency in 1947; 6. Cinematography is
Visual codes Setting, objects and features the art and methods of film photography; 7.
(2 points) of the ad, presence of The process involves the general composition
product, concept, habits, of scenes, the choice of lighting of the set,
moral standards, stereotypes the choice of cameras, lenses and filters, the
Purpose of the Educate, inform, entertain, movements of the cameras and the integration
advertisement promise of special effects, if necessary; 8. The team is
generally made up of the producer, the director,
Audience Target audience, message,
the designers, the sound technicians, the camera
(2 points) representation of values,
lifestyles, opinions and crew, the actors, and the grips; 9. In totalitarian
points of view regimes, photography celebrates all the “good
qualities” of the dictator such as wisdom, beauty
and humanity; 10. Photo composition includes
the focal point, symmetry of the image, the rule
Unit 5.1 TEST 1 p. 203 of thirds, perspective, background and colours.
1. 5.
1. e; 2. h; 3. a; 4. j; 5. g; 6. b; 7. i; 8. c; 9. d; 1. T; 2. F, James Cameron was the film director;
10. f. 3. F, A lower-class man and an upper-class
lady; 4. T; 5. T; 6. F, Russell Carpenter joined
2. the project in progress at Fox Baja Studios in
1. c; 2. b; 3. a; 4. d; 5. b; 6. d; 7. a; 8. c; 9. c; Mexico; 7. T; 8. F, Carpenter has been working
10. b. as a cinematographer on both television and film
industry since 1983; 9. F, Carpenter graduated
3. from San Diego State University; 10. T.
Sample answer
The basic element of advertising photography is
to capture the feeling that a product can create in
a potential buyer, since its purpose is to present Unit 5.1 TEST 2 p. 206
goods in the best way. Advertising photographers
are concerned with selling, so they try to tell an 1.
attractive story through the use of images, colours, 1. d; 2. h; 3. g; 4. a; 5. f; 6. b; 7. j; 8. i; 9. c; 10. e.
lighting, framing and location. Generally, the images
that companies require to market their products 2.
may be clean images on a white background to 1. d; 2. c; 3. a; 4. b; 5. b; 6. c; 7. a; 8. a; 9. b;
use for e-commerce or lifestyle images to advertise 10. d.
a product used in everyday life. Advertising
photographers work with art directors and marketing 3.
managers to implement an ad campaign. First, Sample answer
the team analyse and plan the composition of the Cinematography is the art of film photography.
images, then they choose the technical equipment; The person in charge of the process is the
after that, a photo-processing software is used to Director of Photography or DP. He works with
improve the image and finally the product can be other professionals such as the producer, the
advertised and put on the market. director, the designer, the sound technicians,
the camera team, the actors and the grips. The
4. process includes different practices: the DP
1. In the past, light was used to communicate has to plan the general composition of a scene,
through fire or sunlight reflection. Later, it was the lighting of the set, the choice of cameras,
used to transmit messages with the Morse code; lenses and filters, their angles and movements
2. In medicine, light is used in the treatment of a and eventually the integration of special effects.
lot of illnesses from rickets to depression. Also, The main job of a DP is choosing the right shots
light is necessary for image analysis in x-rays, according to the emotional power of the scene.
MRI scans and CAT; 3. In photography, light can The most used types of shots are the bird’s eye,
be natural or artificial and come from different the extreme long shot, the long shot, the medium
angles, so we can have front, side or back shot and the over-the shoulder-shot.
264
4. of both the song and the advertisement must be
1. Because light and shadow can communicate in synchrony. Different genres of music can be
concepts and allow viewers to focus on specific used, from classical to pop music, from old songs
details; 2. Because a correct lighting underlines to electronic music. Few things can support an
the features of the subject creating a three- advertising message like a catchy jingle. A good
dimensional image; 3. In photography, the term jingle relates a brand name with a concept, idea,
“magic hours” defines the two moments of the day or promotion. For decades, jingles prepared ad hoc
when sunlight is at its best for taking photos, that is have been used to advertise everything, but today
sunrise and sunset; 4. Because her photo entitled they are slowly disappearing, replaced by popular
“Migrant Mother” became a symbol of the Great tunes and existing music.
Depression in the USA; 5. Today, photojournalism
tries to capture emotions; 6. A company usually 4.
needs a clean image on a white background to use 1. Music can create a relaxing and motivating
for e-commerce stores or a lifestyle image of the atmosphere allowing gym goers to work for a longer
product associated with the consumer’s everyday time. Besides, high tempo music helps muscle
life; 7. Advertising photographers with art directors coordination, reducing the risk of injury; 2. Elderly
and marketing managers analyse and plan the people can get a lot of benefits from listening to
composition of the images, then they choose the music, especially those suffering from dementia.
technical equipment, after that a photo-processing In fact, music influences mood and may help
software is used to improve the image and finally memory; 3. Some statistics have shown that ads
the product can be advertised and put on the with music can be remembered more easily than
market; 8. A sports photographer must be able those without; 4. A music video usually promotes a
to predict the “peak action” in a specific sport, song and the image of an artist which can become
therefore he must have thorough knowledge of the profitable for the record company; 5. A music
game; 9. Technical features include light, depth video aims at selling CDs and DVDs of an artist,
of field, camera angles, exposure, and choice of increasing the exposure of the artist’s profile; 6. In
lens; 10. He documented the Spanish Civil War. the 1960s, the so called “promos” were the first
music videos whose main goal was increasing the
5. sale of music recordings; 7. Today, consumers love
1. T; 2. T; 3. F, He worked there for more than twenty watching dance choreography, band interviews and
years; 4. F, In the 1990s, his fashion photography the “making of”. YouTube is the best channel to
appeared in the American magazine The New promote songs; 8. The action on the screen was
Yorker and in the French magazine Égoïste; 5. F, accompanied by music, sometimes performed
Avedon also ran a successful commercial studio; “live” by a musician or a small orchestra; 9. Music
6. T; 7. T; 8. F, He took a celebrated cycle of in films creates emotion and atmosphere, gives
photographs of his father, Jacob Israel Avedon; 9. a rhythm to the scenes, comments, supports
F, It took place at the Smithsonian Institution in and foreshadows narrative developments; 10.
Washington in 1962; 10. T. A film soundtrack includes the music specifically
composed for the film (also called score), and the
songs played or sung in the scenes.
265
2.
1. b; 2. b; 3. d; 4. a; 5. c; 6. c; 7. d; 8. a; 9. b;
Unit 5.3 TEST 1 p. 215
10. a.
1.
1. i; 2. f; 3. a; 4. j; 5. b; 6. h; 7. c; 8. d; 9. e;
3.
10. g.
Sample answer
Music in films serves several functions. It creates
emotion and atmosphere, gives rhythm to the
2.
1. c; 2. b; 3. a; 4. d; 5. d; 6. a; 7. b; 8. c; 9. a;
scenes, comments on the action and reinforces
10. d.
or foreshadows narrative developments. In a film,
music can be found in the main titles, during the
plot and in the end credits. Music can also occur
3.
inside the narration (it can be heard or produced Sample answer
by the characters) or out of the narration (in this In marketing and advertising, storyboards are
case music can only be heard by the audience). used to build the best possible videos in order
Usually, three types of music are used in films: to sell goods and services. A visual aid makes it
songs that already exist, songs written for a much easier for a company to share and explain
certain film and the main soundtrack which what their products are. TV commercials are the
includes the score (music written specifically for most expensive and the most influential because
that film) and all the songs played or sung in the of the wide impact they have. Advertising agencies
scenes. Engaging music can give a big boost to prepare the storyboard that show a summary of
the success of the film, so music often becomes the commercial. Successful marketing videos
as iconic as the movies themselves. follow precise steps: opening, problem statement,
solution, call to action. A considerable help for the
4. clients are animatics, storyboarded panels filmed
1. Fast music makes people eat faster while one after the other with a temporary soundtrack.
slow music can make people stay longer in the Another version is the photomatic, where photos
restaurant; 2. Because restaurants can choose a or 3D computer graphic are used instead of
music that is more suitable for their customers: illustrations. Anyway, a drawn storyboard is always
louder music for young people or slow music in the best way to capture an idea.
the background for older people; 3. Because
soft music makes people move more slowly 4.
so they have the opportunity to look at the 1. Walt Disney animator Webb Smith first used
products more carefully; 4. Relaxing music may stor yboarding during the early 1930s; 2. A
increase milk and egg production; 5. The key stor yboard can be of any length, from two to
factor is memorability because a product can be hundreds of frame