• Is the use of language to represent objects, actions, feelings, thoughts, ideas, states of mind, and any sensory or extrasensory experience
• Signifies all of the objects and qualities of sense perception referred to in a poem or other piece of literature
• Includes appeals to the visual, auditory, tactile, thermal (heat or cold), olfactory, gustatory, and kinesthetic senses
• As you watch the film, take careful notes on how the director uses ___________ imagery [the type of imagery the student was assigned] in the scene we watch.

What moments did you notice your assigned imagery appear in the film?

How does the director's use of imagery seem to achieve some purpose or effect? Be sure that you name clearly what that purpose or effect is. Consider elements such as foreshadowing, irony, symbolism, characterization, and juxtaposition as you develop your ideas.

Go back to the novel and look at the scene we watched. Where do you see evidence of the imagery the filmmakers incorporate into their film? What moments do you see where they have added imagery that Fitzgerald did not intend? Cite page numbers for reference.

Write a paragraph in which you analyze how the director uses imagery to achieve some purpose or effect that you name clearly. Be sure to consider elements such as foreshadowing, irony, symbolism, characterization, and juxtaposition as you develop your ideas.

8-9
Paragraphs earning these scores clearly identify how the director uses imagery early in the film in order to achieve a clearly named purpose. They consider elements such as foreshadowing, irony, symbolism, characterization, or juxtaposition as they develop their analysis. Paragraphs in this category aptly support what they have to say and demonstrate stylistic maturity by an effective command of sentence structure, diction, and organization.

6-7
Paragraphs earning these scores discuss some of the film director's use of elements such as foreshadowing, irony, symbolism, characterization, or juxtaposition as they develop their analysis, though with less detail or fewer supporting examples than the best paragraphs. These paragraphs may analyze the imagery with limited attention to defining a purpose, or they may analyze the tone and literary elements with limited connection back to the imagery. Paragraphs in this category clearly support what they have to say and demonstrate competent command of sentence structure, diction, and organization. The arguments in these paragraphs are sound, but they may be presented with less coherence or persuasive force than essays in the 8-9 range.

5
These paragraphs may concentrate on the imagery with only general attention to literary elements as they are used to achieve some purpose, or they may analyze the presentation of the literary elements with only general treatment of the imagery. Some lapses in diction or syntax may be present, but the writing demonstrates sufficient control of the elements of composition to present the writer's ideas clearly. Organization is evident but may not be fully realized or particularly effective.

3-4
These paragraphs respond inadequately to the question's tasks, often by revealing one or more of these flaws: a restatement or summary of the film with little analysis, an argument consisting largely of assertions without persuasive supporting evidence, or imprecise or incomplete treatment of the director's use of imagery. These paragraphs may not relate their analysis to elements such as foreshadowing, irony, symbolism, characterization, or juxtaposition as they develop their analysis. The writing is sufficient to convey the writer's ideas, but it may suggest weak control over diction, syntax, or organization. These essays may contain consistent spelling errors or some flaws in grammar.

1-2
These paragraphs fail to respond adequately to either part of the question's task. Although the writer attempts to answer the question, the response exhibits little clarity about purpose and imagery or only slight or misguided evidence in its support. These essays may be poorly written on several counts, be unpersuasively brief, or present only assertions without substantive evidence. They may reveal consistent weaknesses in grammar or other basic elements of composition.