We will have a revision test period 5/6 Friday
You will need to study pages 17, 24, 25, 26,28, 29, 30 Insight English Year 12
and pages 21-31 of the Insight Issues Media textbook
These are the questions you will be asked:
End of week test week 4
Outcome 1 reading and responding
features of narrative texts and Look Both Ways
What is imagery?
What are symbols?
What is Mise-en-scene?list the four elements of mise-en scene
What is cinematography?What are the five main elements of cinematography?
What is a protagonist? Give a detailed response
Name three functions of a minor character?
Write a descriptive biography of Nick
Write an annotated biography of Meryl
Write an annotated biography of Phil
Describe the setting and context for the opening sequence of Look Both Ways
Outcme 3 – persuasive language
1. List five key differences between tabloid and broadsheet newspapers
2. What is an editorial?
3. What is a news report?
4. What is an opinion piece? Name several types of opinion pieces.
5. What does positioning the reader mean?
6. Describe the elements of inverted pyramid writing style.
7. What are the key differences between a letter to the editor and an editorial? name three.
8. Name three main differences between a tabloid editorial and a broadsheet editorial?
9. What are the main elements of a feature story?
10. Of all the different types of articles in a news paper, which is the most objective?
Sunday, February 22, 2009
Look Both Ways study guide
This study guide explains all the concepts and themes involved in the text and analyses the characters and their predicaments.
Saturday, February 21, 2009
Bushfires News Stories
Please post your bushfire stories here. Remember you must write a story with an original angle. Also, make sure you follow the inverted pyramid news writing conventions.
VCE Unit 3 guidlines
VCE English
Unit 3 - Semester One 2009
Unit 3 English will be conducted over two terms in Semester one 2009. Unit 3 consists of 3 outcomes. Outcome 1 will be completed in term 1, Outcome 2 will be completed in term 2 and Outcome 3 will be completed over two terms.
Requirements
Outcome One – Text Response
Outcome Two – Writing in ContextOutcome Three – Analysis of Language Use
Term One
Outcome 1
Reading and Responding.
Set Text – Look Both Ways.
Resources – Website: http://movies.juicemedia.com.au/lookbothways/
The focus of this AOS is in reading and writing and their interconnection.
Writing Portfolio
Film interpretation: You are required to write about the author's intentions and the ways that authors make meaning from texts. In order to do this with a film text you will need to discuss film techniques such as camera angles, shot length, lighting, props, viewpoints etc. Collectively these are known as mise en scene. In your work books, create a glossary of filmmaking terms, including a definition and an example. You will be later being tested on these. 10 points. Week 2 Term One
Creative (What is black humour?) Death doesn’t have to be serious and comedy isn’t always funny: 500 words. Create an original piece using this sentence somewhere in the work. 25 points. Week 4 Term One
Monologue: 500 words Theme ‘Love and Death make great friends.’ 15 points Week 6 Term One
Sac 1 – Week Seven Term One.
Essay: 800 words. The blurb for the film says that Look Both Ways ‘asks the biggest of big questions and does this in an entertaining way.’
With reference to how director Sarah Watt uses mise-en-scene to achieve this, write an essay discussing whether you agree with this statement or not? 25 points
Important: You must also provide a written explanation of how you came to form your opinion.
Term 2
Outcome Two
Context – Issues of belonging and identity
Creating and Presenting
The context the school has chosen for outcomes 2 in units 3 & 4 is Issues of identity and belonging (see handout for detailed description of this context) Students are required to read, analyse and draw on the ideas and arguments raised in the set text and then produce their own original texts in response.
Students’ created texts should be written with a specific audience and purpose in mind. Students should also provide a rationale describing how their created work is relevant to the context.
Assessment for Outcome 2 consists of: a writing portfolio and an Oral SAC
Set Text – J.D. Salinger. The Catcher in the Rye.Additional texts – Michael Moore Bowling for Columbine, James Dean and Rebel without a Cause. PBS Frontline: Growing Up Online.
Assessment
Assessment for Outcome 2 consists of: a writing portfolio and a written SAC
Portfolio
Four pieces of original writing. (total 1500 words)
You are required to write a 600 word research paper about the social and cultural environment in which the Catcher in the Rye is set and link it to the present day. Choose one area to focus on:The Beat Generation.Changes in teenage culture 1950s to 2009.The Post Second World War Western world.Existentialism and/or modernism and post modernismDifficulties finding a sense of belonging in the 21st century. 25 pointsDue Friday week one Term Two
Compile a glossary of literary terms relevant to the context. Examples: modernism, ennui, materialism, multiculturalism, community, existentialism, the absurd. These terms will be discussed in class. You will be required to write definitions in your workbooks and will be tested for your understanding and marked appropriately. You will be later expected to employ these terms in your Oral Sac and your end of year VCE exam. 10 points – Test Week Three Term Two
Creative response to be negotiated with your teacher. Choosing a particular audience, write a creative piece that explains the importance of identity and belonging to 21st century adolescents. 25 points –week four Term two.
Workbooks and journal. Workbooks. In addition to keeping notes in class, you are required to develop at least one question, per week, related to the topics we have covered. Raise these questions in class. Raise arguments with your teacher and your classmates and develop a personal position on these topics. You are also advised to keep a context file. This is a collection of notes, articles, thoughts to help you create your own response to the context. Journal. You are required to keep a journal reflecting on the notes you have taken during each lesson. Write a personal response to the topics we have covered in class. Your journal should illustrate your growing personal understanding of the context and how the themes affect you personally.This journal will be sighted by your teacher at least once every fortnight. 15 points - Complete journal due end of term two.SAC2 – 25 points (Fourth/fifth week Term Two)Oral presentation – creative response to the context Issues of Belonging and Identity:Prompt: Being a teenager is difficult enough, but being a Muslim teenager in Australia creates added difficulties.
Or
Adults just don’t understand the pressures that teenagers face trying to fit in to society, yet they should – they were once teenagers themselves.Important: You must also provide a written explanation or statement of intention outlining your message, your purpose and your audience.
Terms One & Two
Outcome Three
Using Language to Persuade
Set Texts – Insight: Persuasive Language in Media Texts. Selection of Australian newspapers, satirical and political cartoons, commercial advertising.
Outcome 3
Assessment for Outcome 3 consists of: a writing portfolio, a debate, and a written SAC.
Writing portfolio – 50 points (due end term one)
Media report ( evidence of bias in media reporting) – 10 points Term 1
Essay – What is Audience? 10 points Term 1
Test – glossary of persuasive literary devices - 10 points Term 1
Create a piece of persuasive media – 10 points Term 2
Workbook demonstrating note taking and personal ideas – 10 points Term 2
Debate – 25 points (term two)
Topic – Is the media a propaganda tool?
Sac – 25 points (term two)
Analyse the ways in which language and visual features are used to present a point of view. (Articles and visuals chosen but teacher in term two).
Unit 3 - Semester One 2009
Unit 3 English will be conducted over two terms in Semester one 2009. Unit 3 consists of 3 outcomes. Outcome 1 will be completed in term 1, Outcome 2 will be completed in term 2 and Outcome 3 will be completed over two terms.
Requirements
Outcome One – Text Response
Outcome Two – Writing in ContextOutcome Three – Analysis of Language Use
Term One
Outcome 1
Reading and Responding.
Set Text – Look Both Ways.
Resources – Website: http://movies.juicemedia.com.au/lookbothways/
The focus of this AOS is in reading and writing and their interconnection.
Writing Portfolio
Film interpretation: You are required to write about the author's intentions and the ways that authors make meaning from texts. In order to do this with a film text you will need to discuss film techniques such as camera angles, shot length, lighting, props, viewpoints etc. Collectively these are known as mise en scene. In your work books, create a glossary of filmmaking terms, including a definition and an example. You will be later being tested on these. 10 points. Week 2 Term One
Creative (What is black humour?) Death doesn’t have to be serious and comedy isn’t always funny: 500 words. Create an original piece using this sentence somewhere in the work. 25 points. Week 4 Term One
Monologue: 500 words Theme ‘Love and Death make great friends.’ 15 points Week 6 Term One
Sac 1 – Week Seven Term One.
Essay: 800 words. The blurb for the film says that Look Both Ways ‘asks the biggest of big questions and does this in an entertaining way.’
With reference to how director Sarah Watt uses mise-en-scene to achieve this, write an essay discussing whether you agree with this statement or not? 25 points
Important: You must also provide a written explanation of how you came to form your opinion.
Term 2
Outcome Two
Context – Issues of belonging and identity
Creating and Presenting
The context the school has chosen for outcomes 2 in units 3 & 4 is Issues of identity and belonging (see handout for detailed description of this context) Students are required to read, analyse and draw on the ideas and arguments raised in the set text and then produce their own original texts in response.
Students’ created texts should be written with a specific audience and purpose in mind. Students should also provide a rationale describing how their created work is relevant to the context.
Assessment for Outcome 2 consists of: a writing portfolio and an Oral SAC
Set Text – J.D. Salinger. The Catcher in the Rye.Additional texts – Michael Moore Bowling for Columbine, James Dean and Rebel without a Cause. PBS Frontline: Growing Up Online.
Assessment
Assessment for Outcome 2 consists of: a writing portfolio and a written SAC
Portfolio
Four pieces of original writing. (total 1500 words)
You are required to write a 600 word research paper about the social and cultural environment in which the Catcher in the Rye is set and link it to the present day. Choose one area to focus on:The Beat Generation.Changes in teenage culture 1950s to 2009.The Post Second World War Western world.Existentialism and/or modernism and post modernismDifficulties finding a sense of belonging in the 21st century. 25 pointsDue Friday week one Term Two
Compile a glossary of literary terms relevant to the context. Examples: modernism, ennui, materialism, multiculturalism, community, existentialism, the absurd. These terms will be discussed in class. You will be required to write definitions in your workbooks and will be tested for your understanding and marked appropriately. You will be later expected to employ these terms in your Oral Sac and your end of year VCE exam. 10 points – Test Week Three Term Two
Creative response to be negotiated with your teacher. Choosing a particular audience, write a creative piece that explains the importance of identity and belonging to 21st century adolescents. 25 points –week four Term two.
Workbooks and journal. Workbooks. In addition to keeping notes in class, you are required to develop at least one question, per week, related to the topics we have covered. Raise these questions in class. Raise arguments with your teacher and your classmates and develop a personal position on these topics. You are also advised to keep a context file. This is a collection of notes, articles, thoughts to help you create your own response to the context. Journal. You are required to keep a journal reflecting on the notes you have taken during each lesson. Write a personal response to the topics we have covered in class. Your journal should illustrate your growing personal understanding of the context and how the themes affect you personally.This journal will be sighted by your teacher at least once every fortnight. 15 points - Complete journal due end of term two.SAC2 – 25 points (Fourth/fifth week Term Two)Oral presentation – creative response to the context Issues of Belonging and Identity:Prompt: Being a teenager is difficult enough, but being a Muslim teenager in Australia creates added difficulties.
Or
Adults just don’t understand the pressures that teenagers face trying to fit in to society, yet they should – they were once teenagers themselves.Important: You must also provide a written explanation or statement of intention outlining your message, your purpose and your audience.
Terms One & Two
Outcome Three
Using Language to Persuade
Set Texts – Insight: Persuasive Language in Media Texts. Selection of Australian newspapers, satirical and political cartoons, commercial advertising.
Outcome 3
Assessment for Outcome 3 consists of: a writing portfolio, a debate, and a written SAC.
Writing portfolio – 50 points (due end term one)
Media report ( evidence of bias in media reporting) – 10 points Term 1
Essay – What is Audience? 10 points Term 1
Test – glossary of persuasive literary devices - 10 points Term 1
Create a piece of persuasive media – 10 points Term 2
Workbook demonstrating note taking and personal ideas – 10 points Term 2
Debate – 25 points (term two)
Topic – Is the media a propaganda tool?
Sac – 25 points (term two)
Analyse the ways in which language and visual features are used to present a point of view. (Articles and visuals chosen but teacher in term two).
Look Both Ways Film Review
Look Both Ways
(Review Sydney Morning Herald August 20, 2005)
Written and directed by Sarah Watt
Look Both Ways isn't going to be everyone's cup of tea, but I could have drunk the whole pot. It made seeing an Australian film pleasurable again, and it's a while since I could say that.
It's a comedy, but so oblique and sad to begin with that it takes a while to recognise. And it's about death, or fear of it, which might scare some people away, thinking it's going to be hard work. It isn't, but it isn't dumb either. The script is mysterious and sophisticated. It's perhaps a film for people who have tasted life's seasoning, good and bad.
The script is built on what people are thinking, rather than what they're saying. Sarah Watt is an animator and her short films (Small Treasures, Living With Happiness) were intimate and internal, like daydreams. This is her first feature and she throws in a couple of richly painted animated sequences to take us inside her characters' thoughts. The animations are meant to disrupt our view of what's normal and connect us directly to the characters' deepest emotions. Once we know these things, the events of their daily lives become heightened: funnier, sadder, scarier.
An example: Meryl (Justine Clarke), a young illustrator, is riding a suburban train home when she has a vision of the train lurching off a bridge into the street below. She daydreams three separate and horrible accidents, all of which are shown by animation. By the time she gets off the train, we know her imagination is uncontrollable and unpredictable and slightly morbid. We also know she's right - this could happen. It already has: at the start of the film, Mary Kostakidis from SBS announces a terrible rail accident on the news.
Meryl has other reasons for feeling mortal - she is returning from her father's funeral. By now we share her anxiety - we know something bad is going to happen. She watches a man in a park, throwing a stick for his dog.
Elsewhere in the city, Nick (William McInnes) sits in a doctor's office, looking stunned. He has just learned he has cancer. He is a newspaper photographer and his thoughts flash by in a rapid photomontage. Back at the office, he tells his editor, Phil (Andrew S. Gilbert), who has a peculiarly Australian reaction. "Christ! You only went for a travel medical!" (One of the best things about the film is the way it captures, with gentle humour, the great Australian masculine inarticulacy, particularly at times of stress.)
As Nick is heading home for a weekend of cancer panic, he is collared by Andy (Anthony Hayes), a pushy young reporter. Someone has gone under a train near Nick's place. He can take the pictures on his way home. That's how Nick meets Meryl - she is a witness. The man with the dog has been killed. So a man who fears he is going to die is sent to take pictures of a man who died without warning, and there meets a woman whose father has just died. Did I mention it's a film about life and death issues?
On the scene, Nick watches a woman approach. The dog recognises her and she drops her shopping, as she realises what has happened. Nick shoots a few frames with a long lens - a grief shot that makes page one the next day. When Andy the reporter arrives home later, a young woman (Lisa Flanagan) is on the doorstep, waiting to tell him she's pregnant. Andy behaves badly. The theme now encompasses hatch, as well as dispatch. Match isn't far behind.
The script concentrates on these three characters - Nick, Meryl and Andy - over the course of a very hot and difficult weekend. It's partly a love story, as Nick and Meryl fall for each other, and it's partly about forms of grief, although not in a sombre way. At one point Meryl asks Nick if he's familiar with the seven stages of grief. "What's the point of knowing about them when you've still got to go through them?" she wonders.
The performances in this movie are exceptional, a sort of strained realism heading towards mild hysteria. In SeaChange, where he came in to fill David Wenham's shoes, McInnes had an unflappable charm that was partly an illusion. Here, he is shattered, trying desperately to hold it together. Watt has written a part (for her husband) where she can observe the great Australian stoicism under real stress. It's not just masculine either: part of what makes Clarke so good as Meryl is her heroic struggle to find the right tone for what she's feeling. Her father is dead, she will lose her job on Monday if she doesn't work all weekend and she's falling for a man who seems on the verge of tears all the time. No wonder she's confused.
Look Both Ways reminded me at times of Ray Lawrence's Lantana, for its ensemble structure, its care with characterisation and its underlying seriousness, but Lantana wasn't a comedy. Look Both Ways isn't a thigh-slapper either, but it is full of wry observation about the mysteries of human behaviour. It has a very individual consciousness behind it, an off-centre intelligence that makes it a pleasure to watch.
(Review Sydney Morning Herald August 20, 2005)
Written and directed by Sarah Watt
Look Both Ways isn't going to be everyone's cup of tea, but I could have drunk the whole pot. It made seeing an Australian film pleasurable again, and it's a while since I could say that.
It's a comedy, but so oblique and sad to begin with that it takes a while to recognise. And it's about death, or fear of it, which might scare some people away, thinking it's going to be hard work. It isn't, but it isn't dumb either. The script is mysterious and sophisticated. It's perhaps a film for people who have tasted life's seasoning, good and bad.
The script is built on what people are thinking, rather than what they're saying. Sarah Watt is an animator and her short films (Small Treasures, Living With Happiness) were intimate and internal, like daydreams. This is her first feature and she throws in a couple of richly painted animated sequences to take us inside her characters' thoughts. The animations are meant to disrupt our view of what's normal and connect us directly to the characters' deepest emotions. Once we know these things, the events of their daily lives become heightened: funnier, sadder, scarier.
An example: Meryl (Justine Clarke), a young illustrator, is riding a suburban train home when she has a vision of the train lurching off a bridge into the street below. She daydreams three separate and horrible accidents, all of which are shown by animation. By the time she gets off the train, we know her imagination is uncontrollable and unpredictable and slightly morbid. We also know she's right - this could happen. It already has: at the start of the film, Mary Kostakidis from SBS announces a terrible rail accident on the news.
Meryl has other reasons for feeling mortal - she is returning from her father's funeral. By now we share her anxiety - we know something bad is going to happen. She watches a man in a park, throwing a stick for his dog.
Elsewhere in the city, Nick (William McInnes) sits in a doctor's office, looking stunned. He has just learned he has cancer. He is a newspaper photographer and his thoughts flash by in a rapid photomontage. Back at the office, he tells his editor, Phil (Andrew S. Gilbert), who has a peculiarly Australian reaction. "Christ! You only went for a travel medical!" (One of the best things about the film is the way it captures, with gentle humour, the great Australian masculine inarticulacy, particularly at times of stress.)
As Nick is heading home for a weekend of cancer panic, he is collared by Andy (Anthony Hayes), a pushy young reporter. Someone has gone under a train near Nick's place. He can take the pictures on his way home. That's how Nick meets Meryl - she is a witness. The man with the dog has been killed. So a man who fears he is going to die is sent to take pictures of a man who died without warning, and there meets a woman whose father has just died. Did I mention it's a film about life and death issues?
On the scene, Nick watches a woman approach. The dog recognises her and she drops her shopping, as she realises what has happened. Nick shoots a few frames with a long lens - a grief shot that makes page one the next day. When Andy the reporter arrives home later, a young woman (Lisa Flanagan) is on the doorstep, waiting to tell him she's pregnant. Andy behaves badly. The theme now encompasses hatch, as well as dispatch. Match isn't far behind.
The script concentrates on these three characters - Nick, Meryl and Andy - over the course of a very hot and difficult weekend. It's partly a love story, as Nick and Meryl fall for each other, and it's partly about forms of grief, although not in a sombre way. At one point Meryl asks Nick if he's familiar with the seven stages of grief. "What's the point of knowing about them when you've still got to go through them?" she wonders.
The performances in this movie are exceptional, a sort of strained realism heading towards mild hysteria. In SeaChange, where he came in to fill David Wenham's shoes, McInnes had an unflappable charm that was partly an illusion. Here, he is shattered, trying desperately to hold it together. Watt has written a part (for her husband) where she can observe the great Australian stoicism under real stress. It's not just masculine either: part of what makes Clarke so good as Meryl is her heroic struggle to find the right tone for what she's feeling. Her father is dead, she will lose her job on Monday if she doesn't work all weekend and she's falling for a man who seems on the verge of tears all the time. No wonder she's confused.
Look Both Ways reminded me at times of Ray Lawrence's Lantana, for its ensemble structure, its care with characterisation and its underlying seriousness, but Lantana wasn't a comedy. Look Both Ways isn't a thigh-slapper either, but it is full of wry observation about the mysteries of human behaviour. It has a very individual consciousness behind it, an off-centre intelligence that makes it a pleasure to watch.
Black Comedy
Please post your black comedy pieces here. Use the comment feature at the bottom of this post. Give your post a title and don't forget to put your name to your work.
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