Words’Wor th April 2013 • Volume 46, Number 1 1
CONTENTS
Editorial 2
ETAQPatron’sMessageCatherineBeavis 3
President’sAddresstothe2013AnnualGeneralMeetingGarryCollins 4
ValeJimBuckleyGarryCollins 8
“Creativityisasimportantasliteracy”:MakingafilmtrailerrespondingtoliteratureAnitaJetnikoffandChrystalArmitage 9
BringingInanimate AlicetolifeintheclassroomCarlyZandstra 16
2012AATENationalConferenceFionaLaing 22
AsianrepresentationsinfilmsfortheAustralianCurriculum:anannotatedguideAnitaJetnikoffandMelissaKelly 23
Year10unitoverview:ClassicworldliteratureLauraPegg 29
2012ETAQ/QIEU/JamesCookUniversityLiteraryCompetitionWinningentriesandjudges’reportsSectionsAandB(Years11and12)DebPeden 47
BooksandResourcereviews 60
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The English Teachers Association of Queensland2
EdiTOriAlStewart riddle
University of Southern Queensland
WelcometothefirstissueofWords’Worthfor2013;myfirstasincomingeditor.Iwouldliketotakethisopportunityto
acknowledgethegreatworkofSueGrotherr,whohasleftsomebigshoesformetofill!Duringherfouryearsaseditor,SueworkedcloselywithgreatEnglishteacherstosharewithussomeoftheexcellentworkbeingdoneinclassroomsaroundthestate.Duringthattime,we’veseentheintroductionoftheAustralianCurriculum:English,theimpactsofC2C,andanever-persistentoptimismfromEnglishteachersworkingwiththecomplexitiesofourtime.AsItakeontheroleoftryingtocontinuethisgoodwork,Isensethatthefunisfarfromover;itcontinuestobeimportantfortheongoingvitalityofourworkandtheassociationthatwekeepsharingthetrialsandtribulationsofEnglishteachingthroughforumssuchasthestateandnationalconferences,seminarsandWords’Worth.
Alittleaboutme:IwasanEnglishandMusicteacherforsevenyearsbeforemovingintomycurrentroleasaLecturerinliteracieseducationattheFacultyofEducation,UniversityofSouthernQueenslandin2010.MyMastersresearchinvolvedlookingatnegotiatingEnglishcurriculumwithYear8boys,whilemyPhDinvestigatedlinksbetweenmusic,literacieslearningandschooling.IhavehadthepleasureofservingontheETAQmanagementcommitteesincethebeginningof2012andhave
nowtakenontheroleofeditingWords’Worth,whichIthinkisaveryexcitingstepformyownprofessionaldevelopmentasIgettotapintotheworkandthinkingofsomeofourmostinspiringandinterestingcolleagues.
Thisissuecontainssomegreatpracticalclassroomcontributions,including:howtomakefilmtrailersinresponsetoliterature;usingdigitalnarrativesasmultimodaltexts;filmsthatmeettheAsiaandAustralia’sengagementwithAsiacross-curricularpriority;andaYear10unitonclassicworldliterature.Aswell,wehaveGarryCollins’2013AGMPresident’sAddressandeulogyforJimBuckley,whowasanETAQFoundationmemberandTreasureroftheAssociationfortwentyyears.Thereareanumberofwonderfulwinningentriesfromthe2012LiteraryCompetitionthatIthinkyouwillfindaveryenjoyableread,aswellassomebookandresourcereviews.
IfyouwouldliketocontributetoWords’Worth,pleasefeelfreetosendsubmissionstome.Ifyouhaveanyquestions,donothesitatetocall.Mycontactdetailsare:
DStewartRiddleUniversityofSouthernQueenslande:[email protected]:0734704343POBox4196SpringfieldCentralQLD4300
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Words’Wor th April 2013 • Volume 46, Number 1 3
ETAQ PATrON’S mESSAgE
dear ETAQ members,
i hope the year has started well for you and that you have had a satisfying and productive Term 1. i also hope you had a good break over the Easter period and are well into the swing of things for Term 2.
Professor Catherine BeavisGriffith University
Wearewellplacedinthisinrelationtomanyothercountriesintheworld,andareingoodcompany.IwasinterestedtoreadrecentlyapolicypaperfromtheUSbasedorganization,theInternationalReadingAssociation-theirAdolescentLiteracyPositionStatement,updatedin2012.‘Whoareadolescentreadersandwriters?’thestatementasks,and‘Whatisadolescentliteracy?’Internationally,adolescentreadersandwriters,astheyseethem,‘representadiverserangeofculturallinguisticandsocioeconomicbackgrounds’who‘engageinmultipleformsofliteracythroughouttheday.’Examplesgiveninclude‘traditionalprintmaterials,theInternet,socialmedia,instantmessaging,texting,andvideogames,allofwhichcanbeusedastoolsforunderstandingacademiccontentaswellasformingsocialrelationships.’YoucanreadmoreoftheiraccountofwhatAdolescentliteracyentailsontheirwebsite,http://www.reading.org/general/AboutIRA/Position Statements/AdolescentLitPosition.aspx.YoumightalsowanttolookatourownAATEstatement,TheTeachingofEnglishinAustralia,http://www.aate.org.au/index.php?id=39,whichprovidesawideandcomprehensiveoverview.So,excitingtimes.WatchoutforsomegreatresourcesandideasbeingdevelopedtosupportEnglishteachinginthenewCurriculum,particularlyresourcescominguponline.ETAQ’shalf-dayseminarsalsoprovideanexcellentvenueforhearingaboutwhatothersaredoing,andagreatspacefortalkingovernewapproachesandideas.Doseeifyoucangettothem,ifyouhavenotdonesoalready.Andthisyear,weareparticularlyluckytobehostingtheNationalconferencefortheAustralianAssociationfortheTeachingofEnglish,inpartnershipwiththeAustralianLiteracyEducator’sAssociation,inBrisbaneinJuly.Somethingforallofustolookforwardto!Wishingyouallthebest,andhappyteaching.
i’vebeenlookingrecentlyatapproachestoliteratureandliteracy,inparticularmultimodalliteracy,andthewiderange
ofliterarytextualformsthatwehavehereinAustralia,bothinstatedocumentsandintheAustralianCurriculum:English.WhiletheseareearlydaysfortheAustralianCurriculum,it’scleartherearegreatpossibilitiesheretodevelopandimplementchallengingandcreativeteachingandlearningwithawiderangeoftexts,tappingintotherichrangeofstoryinmultipleforms,availabletoourstudentstoday.Whetherthisisthroughthestudyandteachingoftraditionalclassicliterature,orthroughexploringmultimodalformsrangingfromfilmandtelevisionthroughmanga,graphicnarratives,picturebooksordigitalpoetry,therangeofaesthetictextsandpossibilitieswehavehereisexciting.Similarly,therangeofcreativeandproductiveoptionsopentostudents,throughallmannerofweb2spacesandtechnologies,andthroughwriting,makingandcreatinginspoken,oralanddramaticforms,makethisaninvigoratingtimeforteachingandlearning,forusaswellasourstudents.Oneofthethingswedoparticularlywellhereistocreatespaceforthiskindofspreadanddiversity.Alongsidewrittentextsandformsofmanykinds,we’regoodatrecognisingandmakingspaceforstudents’digitalexperiencesandexpertise,andaligningthesewithcorevaluesandelementsinEnglishteachingandcurriculum.ThefirstaimoftheAustralianCurriculum:English,signalsthisfromthebeginning.Astheywritethere,thecurriculum‘aimstoensurethatstudents‘learntolistento,read,view,speak,write,createandreflectonincreasinglycomplexandsophisticatedspoken,writtenandmultimodaltextsacrossagrowingrangeofcontextswithaccuracy,fluencyandpurpose.’(http://www.australiancurriculum.edu.au /English/Aims)
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The English Teachers Association of Queensland4
PrESidENT’S AddrESS TO ThE 2013 ANNUAl gENErAl mEETiNg
garry CollinsETAQ President
introductionGoodmorningfellowmembersofETAQ
Well,hereweareagain–anotheryear,anotherMarchseminar,andanotherAnnualGeneralMeeting.ThisistheeighthoccasiononwhichithasbeenmyhonourtodeliverthePresident’sAddresstoETAQ’sAGM.Iplanthatitwillbemylastbutone–apenultimateperformancethen.Moreonthatlater.
OneofthethingsthattheManagementCommitteedidduringtheyearwastoadopta“brandstatement”fortheassociation.Thiswas:
• ProvidingprofessionalsupportandadvocacyforEnglishteachers
ThestatementcurrentlyappearsonourwebsiteandtheregularETAQE-pistlememberemailbulletinsthatwesendout.Infuture,itwillroutinelybeapartofwhateverartefactstheassociationmighthavecausetoproduce.
So,accordingtothatbrandstatement,ourcorebusinessinvolvesprofessionalsupportandadvocacyandit’saroundthosetwoelementsthattherestofmyremarksthismorningwillmainlybestructured.
Professional supportTheAssociation’ssupporttomembersismainlyachievedbymeansofprofessionalsharing,eitherviaface-to-faceeventssuchasthisonetoday,orviamaterialpublishedinourjournalWords’Worth.
LastyeartheManagementCommitteewaskeptbusymountingwhathasbecomeourusualpatternofactivitieshereinBrisbane.Wehadhalf-daySaturdayseminarsinMarchand
MayatTheGapHighandBrisbaneGrammarrespectively;aStateConferenceatLourdesHillCollegeinAugust;andaLiteraryBreakfastinOctober(IrecallthatweborrowedthatlastgoodideafromtheDarlingDownsBranchsomeyearsback).Therewerealsoafter-schoolforumsinMayandJulyandaBeginningTeachersDayinApril.
WemuchappreciatethegenerosityoftheschoolsthatprovidethevenuesforourPDevents.OvertheyearsthatIhavebeeninvolved,thesehavemainlybeenprivateschools.Thisisbecausethesearetheonesthathaveagreed.Anditdoesn’thurtthattheyoftenhaveverynicefacilities.Thatsaid,Iwaspleasedthatwewereabletoconductlastyear’sMarchseminaratTheGapStateHighandhereweareatanotherEducationQueenslandschooltoday.I’msureyou’llagreethatthisisanexcellentvenue.
IfyouwouldbewillingtohostanETAQPDeventatyourschool,wewouldlovetoreceiveyouroffer.SeparatePDeventsarealsoconductedbybranchesbasedinToowoomba,Townsvilleandmorerecently,inCairns.JustlastSaturdayItookadrivetoattendaveryusefulactivityrunatToowoombaGrammarSchoolbytheDarlingDownsBranch.
Inadditiontotheseface-to-faceeventswealsoranatrialwebinarlastMarch.Thereweresometechnicaldifficultieswiththatfirstforayandplanstorunasecondonelaterintheyeardidnotcometofruition.However,wecertainlyseetheutilizationofdigitaltechnologytoserviceourcountrymemberstobethewayofthefutureanditremainsveryfirmlyonour“to-do”list.
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National conferenceNormallywewouldrunourStateConferenceinAugust.Thatwon’thappenin2013.TherewillbeaPDeventintheAugusttimeslotbutitwillbea“Saturdayseminar”liketoday.ThisyeartherewillbenoETAQStateConference.Thisisbecause–andIreallyhopeyouallalreadyknowthis–inearlyJuly,towardstheendofthewintervacationforEQschools,thejointAATE/ALEAnationalconferencewillbeconductedatQUT’sKelvinGrovecampus.
Aswellashelpingmakeournormalpatternofactivitieshappen,anumberofushavebeenbeaveringawayonpreparationsforthisnationaleventthatcomestousevery8years.OurlastturnwasaverysuccessfulconferenceontheGoldCoastin2005.
ETAQishostingthisyear’seventinconjunctionwithALEAQueensland.ALEAistheAustralianLiteracyEducators’Association,mostofwhosemembersteachinprimaryschools.
Thethemeofthisyear’seventisBrave New World: English and literacy teaching for the 21st century.
Iamconfidentthatthisyear’seventisgoingtobeareallytopnotchconferenceandIstronglyurgeyoutoattend.It’simportanttobeawarethattheearlybirdregistrationperiodclosesattheendofApril.
Wedoacknowledgethatregistrationfora3-dayeventlikethisisnotcheap,butsucheventsarenotcheaptoruneither.RegistrationratesarecomparablewithrateschargedbytheQSAforexample.Irecallaflierfora3-hour,halfdayworkshopturningupinmyin-traylastyear.Thecostwasawhiskerunder$100.Themember,earlybirdregistrationrateforBrave New Worldisatadunder$600.Ifyoucan’tgetallorpartofthiscoveredbyschoolPDfunds,suchpersonalexpenditureisofcoursetaxdeductible.
ETAQwillbeofferingtocoverthecostofregistrationforseveralmembersinreturnforanarticleforWords’Worth.ThecallforapplicationsforthatsponsorshipwillbegoingoutverysoonsokeepaneyeonE-pistlesandourhardcopynewsletter,English Matters.
Words’WorthAsImentionedearlier,amajormeansofprofessionalsharingbesideseventsliketoday’sisviathepagesofourjournalWords’Worth.Ifyouhaven’tyetsharedafavouritelessonidea,unitofworkorresourceviaanarticleinthejournalcouldIurgeyoutoputitontoyour“todo”listfortheyear.
ForthelastseveralyearsthejournalhasbenefittedfromthecontributionaseditorofSueGrotherrandwethankherforhereffortsinthatrole.Fromthestartofthisyear,SuehashandedovertheeditorialreinstoDrStewRiddle,formerlyateacheratIpswichGrammarandnowalecturerineducationatUSQ,
literary CompetitionAnotheractivitythatfitsgenerallyintotheareaofprofessionalsupportistheannualliterarycompetition.ETAQworksinconjunctionwithQIEUonthiseventthathasbeenrunningforhalfacenturyandsopre-datesETAQ’sownformation.Inrecenttimes,JamesCookUniversityhasalsobeenonboardasasponsor.DebbiePedenveryefficientlyco-ordinatesourpartofthejointeffort.
Materialsforthisyear’scompetitionwillsoonbearrivinginschoolsandyouareurgedtodoallyoucantoencouragetalentedstudentwriterstoenter.Andifyou’reinterestedinservingasajudgeatsomestageinthefuture,DebbiePedenwouldlovetohearfromyou.
Advocacy – QSAInowturntosomeaspectsofETAQ’sadvocacyrole.
Asmanyofyouwouldbeaware,theQSAhasanewboss.ThejobtitlehaschangedfromDirectortoChiefExecutiveOfficerandthenewleaderofthatsignificantorganizationineducationinQueenslandisMrsPatreaWalton.ETAQsawthischangeasanopportunity,andsoIwrotetocongratulateheronhernewappointmentandtoadviseherthatwecontinuedtobeunhappythatsubjectassociationswereexcludedwhentheauthority’sSACs(Syllabus
PrESidENT’S AddrESS TO ThE 2013 ANNUAl gENErAl mEETiNg
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PrESidENT’S AddrESS TO ThE 2013 ANNUAl gENErAl mEETiNg
AdvisoryCommittees)werereconstitutedasLARCs(LearningAreaReferenceCommittees).
Onthe27thofFebruary,alongwithrepresentativesofotherteacherprofessionalassociations,IwasinvitedtoameetingwithMrsWalton.Idon’twishtosuggestthatthismeetingwasaresultofourletter–itwasjustpartofthenewCEO’sprocessforsettlingintoherjob–butitwasaveryusefulopportunitytoreinforcetheissueofrepresentationontheLARCs.Inthis,Iwasstronglysupportedbyallotherrepresentativesatthemeeting.MyimpressionwasthatMrsWaltonwasgenuinelypuzzledastowhytheQSAshouldhavethoughtitagoodideatonothavesubjectassociationsrepresentedonLARCs.
I’mnotsonaïveastoexpectthattherewillbeanyrapidchangetothestatusquothere,butatleastthematteriswellandtrulybackontheQSA’sradar.
Advocacy – ACArA senior subjectsAnotherareaofadvocacyactivityinthepastyearrelatestotheEnglishsubjectcomponentsoftheYear11and12phaseoftheAustralianCurriculum.WesoughtinputfrommembersandprovidedfeedbacktoACARA.
ThefinalversionsofthefourseniorEnglishsubjectswerereleasedinDecember,anditisnowuptostatecurriculumauthoritiestodeterminehowtheywillbeincorporatedintolocalsyllabusesandassessmentprocedures.Itisdifficulttoseewhat,ifindeedany,changesweremadetotheinitialdraftsasaresultoftheconsultationexercise.
OurnextprojectonthisfrontwillbetoagainseekinputfrommembersandthenmakerecommendationstoboththeQSAandEducationQueensland.Theprocessisbeingstartedviaoneofthesessionsheretoday.ItiscertainlytobehopedthattheimplementationofrevisedseniorEnglishsyllabusesinEQschoolswillnotbemarredbyinappropriatedegreesofmandationthatwereanobjectionablefeature,inourview,oftheC2C,CurriculumtoClassroom,programinrelationtotheF-10sectionoftheAustralianCurriculum:English.
CommunicationI’vejustmentionedseekingtheviewsofETAQmembersandthatnecessarilyinvolvescommunication.Inrecentyearsamajormeansofcommunicatingwithmembershasbeenviaemail,ourETAQE-pistlememberbulletins.Theseprovideimmediacybutonlyabout30-40%ofthemessagesareopenedorclickedon.I’mtoldthatsucharesultisinfactquitegoodforthisformofcommunicationandIdoappreciatehowcluttereduppeople’sin-boxescanbeandhowlittletimeinthedaythereistoattendtoemail.However,wewouldbeamoreeffectiveorganizationifahigherpercentageofmembersdidinfactreceivethemessagesthatwesend.
CouldIjustseeashowofhandsofthosewhoregularlyreceiveandatleastscanthecontentsofETAQE-pistles?
Ifyou’renotreceivingthem,it’smostlikelybecausewedon’thaveacurrentemailaddress.Whenemailaddresseschange,pleaseremembertoadviseus.Thisisparticularlyanissuewhenthecontactpersonforaschoolcorporatemembershipchangesbecauseofrelocation,retirementandthelike.
Public debateAnotheraspectofadvocacyisengagementinpublicdebateabouteducationingeneralandEnglishteachinginparticular.Mypersonalmissioninthisregardisvialetters-to-theeditor.IproducetheseregularlyandmostaresubsequentlyprintedinEnglish MatterseveniftheyarenotselectedforpublicationbyThe AustralianorThe Courier-Mail.JustyesterdayImanagedtoscorewhatIliketothinkofas“thedailydouble”withversionsofthesameletterinboththosepapers.Thetopiconthisoccasionwasthedoublefocusofgrammar,spellingandpunctuationintheNAPLANtests.Theeditingisalwaysinteresting.
Jim Buckley’s passingLastyear’sAGMwasasignificantmilestonebecauseitwasthefirsttimein20yearsthatJimBuckleywasnotstandingforelectionas
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Treasurer.Now,sadly,Jimisnolongerwithus,havingpassedawayonthe18thofFebruary.Hisfuneralonthe25thoflastmonthwasverywellattendedwithastrongturn-outofhisETAQfriends.Atthestartoftheopeningsessiontoday,infrontofalargeraudiencethanattendstheAGM,IproposetorepeattheremarksthatImadethenaspartoftheeulogy.
Succession planningOneofthethingsthatexpertsintheeffectiverunningofnot-for-profitorganizationslikeETAQregularlysayisthatitisvitaltohaveasuccessionplan.That’seasytoacceptasageneralconcept,butit’susuallyrathermoredifficulttogetanameineveryslot.
IsaidatthebeginningoftheseremarksthatthiswouldbethesecondlasttimethatIwouldbegivingthisaddressattheAGM.
SincethestartofthisyearIhavebeenPresidentElectofthenationalEnglishteacherbody,theAustralianAssociationfortheTeachingofEnglish,AATE.MembersofETAQ,andthevariousotherstateandterritoryETAs,are,asaresultofthatprimarymembership,alsomembersofAATE.Ihopeyouallknewthat.AATE’sconstitutionprovidesfora4-yearcycleinthepresidentialrole.ThisyearIamPresidentElect.On1Januarynextyear,Iwillbegina2-yeartermasAATEpresident,andthenin2016(ifImakeitthatfar!),IwillserveayearasPastPresident.Afterthat,Ianticipatedisappearingintothesunsetasfarasthisorganizationisconcerned.ThecurrentAATEpresidentisAssociateProfessorKarenMoniandI’llbesucceedingherasIdidintheroleofETAQpresident.
Asaresultofthesedevelopmentsatthenationallevel,IadvisedtheManagementCommitteelastyearthatthiscomingyearwouldbemylastasETAQPresident.IamverypleasedtobeabletoreportthatFionaLaing,currentlythe
MembershipSecretaryand,fromthestartofthisyear,ourdelegatetotheAATEnationalcouncil,hasindicatedaninterestintakingoverfromme.Butofcourse,IdoneedtoaddthatETAQisademocracynotadynasty,andanymembercouldnominate.
membershipSpeakingofmembership,itisimportanttobeawarethatany2012memberswhohavenotpaidduesforthecurrentyearbytheendofMarch,ceasetobemembers.
ThanksIwouldliketoexpressmysincerethankstoallmembersoftheBrisbane-basedManagementCommitteefortheirvariouscontributionsduring2012.ThesameappreciationalsoappliestothemembersinToowoomba,TownsvilleandCairnswhoseuntiringeffortsmaketheregionalbranchesfunction.Weshouldnotforgetthatitisprobablyaharderjobinthebranchesbecausethereisasmallerpoolofpeopletodrawon.Asalways,itisarealpleasuretohavetheopportunitytoworkwithagroupofsuchfriendly,generous,talentedandprofessionallycommittededucators.
AllofthoseelectedatthelastAGMstayedthecourseandallbutthreeofthemhavenominatedforanotherterm.SueGrotherr,editorofWords’Worthforthelastseveralyears,alongwithKarenFarrowandIanHoddinotneed,foravarietyofreasons,toreallocatethetimeandeffortdevotedtothisassociationduring2012tootherareasoftheirlives.Thankstothem,andtoallmembersoftheManagementCommitteefortheirdiligentworkonbehalfofmembers.
Andthat,fellowEnglishteachers,concludesmyPresident’sAddressforthe2013AGM.Itrustyouallhaveaprofessionallysatisfyingyear.
GarryCollins
PrESidENT’S AddrESS TO ThE 2013 ANNUAl gENErAl mEETiNg
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The English Teachers Association of Queensland�
“IamverygratefultohavetheopportunitytosayafewwordsaboutJimonbehalfoftheEnglishTeachersAssociationofQueensland(ETAQ)andthemanymembersoftheassociationwhoheldhiminhighesteem.
JimwasanEnglishteacherandjoinedthesubjectassociation,ETAQ,intheveryyearthatitwasformed.Thatwasin1967whenhewasonthestaffatDownlandsCollegeinToowoomba.Jimoftensaidthathegreatlyappreciatedtheprofessionalsupportthathereceivedfromtheassociation–mainlyviaarticlesinitsjournal–whenhewasworkingincountryQueensland.
WhenhereturnedtoBrisbanetowardstheendofthe1980sheexpresslysetaboutgivingsomethingbacktotheorganizationbyjoiningitsManagementCommittee.HesoonbecametheTreasurerandheldthatpostforanunbrokenperiodof20years.Hisprudentmanagementoftheassociation’sfinancialaffairsmeantthatwewereabletorecoverfromamoney-losingnationalconferencein2000andwhenhepassedoverthereins,wewereinaverysoundfinancialposition.
Fromwhenheretiredfromfull-timeteachingin2003until2yearsagohewasalsoourpart-timeAdministrationOfficer.Well,itwasnominallyapart-timejobbutatbusyperiodsI’msurethatitabsorbedmostofJim’swakinghours.Inrecognitionofhislong,loyalandmeritoriousservice,JimwasmadeaLifeMemberoftheassociationin2009atitsannualStateConferenceheldthatyearinTownsville.ThelocationwasquiteappropriatebecauseitwasinTownsvillethatJimbeganhisteachingcareerinthelate1950swithaGrade5classof84students.
Notunreasonably,manypeopleareinvolvedinorganizationsprimarilyforwhattheycangetoutofthem.Incontrast,JimBuckleywasfocusedonwhathecouldcontribute.Toadapt
At Jim Buckley’s funeral on Monday 25 February 2013, ETAQ President Garry Collins made the following contribution to the eulogy.
These remarks were then repeated at the start of the opening session of the PD activity conducted at Centenary State High School on Saturday 16 March.
Vale Jim Buckley1May1938–18February2013
ETAQ foundation memberOur Treasurer for 20 yearsA generous friend to many
thewordsofUSPresidentJohnFKennedy,forJimitwasalwaysacaseof:“Asknotwhattheassociationcandome,butwhatIcandotheassociation”.
Itissometimesanotverymeaningfulclichétodescribesomeoneas“agentlemanandascholar”butthosewordsareexceedinglyaptforJimBuckley.Andtheword“gentleman”appliedinadoublesense.Aswellasdisplayingunimpeachableintegrityandhighpersonalstandardsofbehavioringeneral,hewasalsoagentleman.
SinceadvisingETAQmembersofJim’spassingI’vereceivedanumberofemailmessagesnotingthevariouswaysthatmembersrememberhim.Thesearesomeofthecharacteristicstheymentioned:
• gentlemanlydemeanour,loyaltyandstrongsenseofduty
• kindnessandsenseofhumour
• expertiseandgraciousness
• generosityandphenomenalmemoryforpeople
• thenowquaintterm"nature'sgentleman"appliedtohim.Hewasthefriendlyfacethatgreetedusatseminarsandconferences,knowingsomanybyname.
• aninspirationandalwayssowillingtolistentoandempathisewithteachers
Thanks,Jim,foreverythingyousogenerouslygavetotheassociationandtoyourfellowEnglishteachers.TheworldofEnglishteachinginthisstateisdiminishedbyyourpassing.”
Note: The Management Committee is currently considering an appropriate mechanism to memorialise Jim’s contribution to the association. One proposal is that the sponsorship that is provided to assist country members to attend the State Conference be called “The Jim Buckley Memorial Scholarship”.
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Anita Jetnikoff and Chrystal ArmitageQueensland University of Technology
“CrEATiViTy iS AS imPOrTANT AS liTErACy”: mAkiNg A film TrAilEr rESPONdiNg TO liTErATUrE
ThefirstpartofthetitleisfromSirKenRobinson(Robinson,2009),theesteemededucatorandchampionofcreativityinschools.Sometimesinthefaceofmeetingthedemandsoftime,timetabling,demandingadministrationtasksandteachingforhighstakestestingaccountability,wecanfindourselvesdesperatefortimetorememberthatEnglishhasalwaysbeenoneoftheplacesinschoolswherecreativitycanflourish.Englishisaplacefortheplayoftheimagination.Englishteachersarethepurveyorsofnarrative;thekeepersandteachersofstories.ThenewAustralianCurriculum:English,(AustralianCurriculumandAssessmentReportingAuthority(ACARA),2012)asksustobeusingICTtechnologiesincreativewaystotellthosestories.Thecurriculumasksstudentstoaccesstextsreceptivelyandtothenspeakabout,writeandcreatetextsproductively.Therearesomanyinterestingthingstodowithtextsbeyondwordprocessingofprintbasedresources.Respondingtoliteraturethroughmediaisalwaysanalternativeoptiontowritingorsimplyspeakingaboutit.InthispapermyQUTpre-servicestudentChrystalArmitagedescribeshowshemadeaministoryviaafilmtrailerinresponsetoashortstory,‘Turned’(Gilman,1987)intheunit,LiteratureinSecondaryTeaching.Theproductionprocessdescribedherecouldbelocatedinthesynthesisingphaseofajuniorsecondaryunit,sincewethinkthatteachersmaymostwanttoknowthetechnicalaspectofthetask.
Respondingtotextsviamediaproductionisbecomingmorerealisticasschoolsbecomeequippedwithlaptopsforstudentuse.Laptopsand/orcameraandvideoequippedtablets,makeaccesseasier,sincenotalltheclasshastobeworkingattheonetimeinacomputerlabatschoolinschoolhours.RecentresearchIhave
conductedwithbeginningteachers,provedthatmanyEnglishclassesstillhaverestrictedaccesstotechnologiessuchaslabspacesinschools,solaptopsandtabletsmayprovideapartialanswer(Jetnikoff,2011a,2011b).AsChrystalshowsinhermediaexperimentavideogameplatformcombinedwiththestandardissueMovieMaker(availableoneveryPC)allowedhertocreatesomethingquiteoriginal.
ThispaperalsogrowsfromthepremisethatboththeAC:Ev.3(ACARA,2012)andthecurrentQueenslandSeniorEnglishSyllabus(QueenslandStudiesAuthority,2010)categorisefilmsas“literary”texts.Thechoiceofashortstoryasaparenttextiseasierthananovel.Itisnotrealistictoexpectthatthemultimilliondollarbudgetsandexperiencedcreativeteamsthatmakefeaturefilmadaptationsfromnovelsorplayscanbeemulatedinoursecondaryclassrooms.Yettheshortstoryisanaccessibleformandthenarrativeformoftheshortfilmcontainsasimilarthreepartstructuretothatofafeaturefilm.Shortstoriesarenotoftenmadeintofilms,however,QueenslandSecondaryFilm,TVandNewMediastudentshavelongbeenmakingshortgenrefilmsinschools.Thisshortertaskofmakingatrailerisnottreadingonthatterritory.Makingafilmtrailerforashortfilmrequireslesstimeandequipmentthanawholeshortfilm,sothisallowssomethingcreativeandoriginaltobemadeinschool.ItisalsooneofthetexttypesrecommendedbytheACEandindeedthereareassessmentsamplesoffilmtrailersontheAC:Ewebsite,mostlymadewithstillshots.
Whatstopsteachersfromexperimentingwiththissortoftaskisusuallylackofaccesstoandknowledgeabouttechnologyandlackoftimebothtolearnaboutusingit,thereisalsothefearthatstudentsmayknowmore
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The English Teachers Association of Queensland10
“CrEATiViTy iS AS imPOrTANT AS liTErACy”: mAkiNg A film TrAilEr rESPONdiNg TO liTErATUrE
thanteachersaboutthetechnology.Notallstudentsare‘digitalnatives’(Prensky,2007).Thistermisanoverstatement,sincetherearemanyyoungpeoplewhoarestillnotau fait withthemorecreativeusesoftechnology.ManymightstopatFacebookuse,butnotbeabletomanipulatemorecomplexcreativesoftwaretechnologiessuchaseditingprograms(Jetnikoff,2011b;O’Mara,2006).IntermsofuptakeoftechnologiesbyteachersandstudentsforthepurposesofthecreativeandproductivemodesinEnglishclassrooms,willingnessandopennessarebothimportanttraitstobringtotheiruse.Whatsomestudentsmaylackinknowledge,oraccess,theymaymakeupforinfearlessnessoftechnologicalterrain.Ifteacherslearnsomesoftwarebasicsandteachthose,studentswilllearnthesetooandthenthereislittletostopthemprogressingtowardscreatinginterestingandchallenging,productivesummativeassessmenttasksintheclassroom.
Ofcoursethiswouldappearinalargerunitcontextandtheunit’steachingandlearningexperiencesintheearlierphasescouldrevolvearoundsemiotics,visualgrammar,narrativestructure,andfilmstructure.Thispreparatoryworkwilldependoftheleveloftheclassandthepriorknowledgetheybringtoit.Thesewillnotbecoveredinthispaperasthereisanassumptionthatteachersmaybefamiliarwiththeseelementsoftextualanalysisandhowtheymightworkincreatingnewaudio-visualormultimodaltexts.Let’ssaythisisforayear10class,whohavepriorknowledgeandexperienceofsomeoftheabovementionedconcepts.Herewewillfocusonthetechnicalaspectsofthefilmtrailertaskinthefinalphaseoftheunit.Wecouldcontextualisethesummativeassessmenttaskasfollows:
Text type:Imaginative:afilmtrailernarrative
Context:Designandproduceafilmtrailerinthecontextofanupcomingfilmfestival,suchasQldNewFilmmakersawards(QNFMA).Thefilmshouldbebasedonthenarrativeelementsandrepresentationsofyourchoiceoneoftheshortstorieswehavereadthissemester(teachersinsertyourchosenanthology).
Purpose:Toentertainandpersuade
Roles and relationships:StudentsfilmtrailermakerJudgesofNMFAandfestivalfilmviewers
Mode:Multimodal
Chrystal’s experience of making the film trailerAfterbeingintroducedtotheWindowsMovieMakerprogrambyafriendandhavingselectedtheMoviesPCGameforabitoffunafewyearslater,theprocessofmergingthetwosoftwarepackagestogethertocreateatrailerforaliteratureunitatuniversitywastrulyexciting;andagreatwaytocombinetwothingsthatIlovethemost,creativestorytellingwitheye-catchingvisualsandmusic.Themostimportantpartofthetrailer’screativeprocess,forme,wastobeginwiththetextandworktowardsthetechnologywithaplan.Initially,Iselectedthemainplotpointsfromtheoriginalshortstorytoseewhichoneswouldbeincludedinthetrailer,andwhichoneswouldnot.FromthisIselectedthedialogue,eitherdirectlyfromthetext,orbywritingmyown,toaddanotherlayerofmeaningtothevisualsonscreen.ItwasthroughthisprocessthatIdecidedtousethefinalclimaxofthestoryattheveryendtoleaveaudienceswantingmoreandgetthemtothecinematoseethefilm,whichisthepurposeofthetask.TheshortstoryTurned (Gilman,1987),setattheturnofthe20thcenturyandaboutadomestictriad,involvinganeducatedwoman,andherunfaithfulhusbandandservant,lentitselfwelltothisstructurebecauseofitsratherinterestingcliff-hangerending.Mostshortstorieshaveclimaxesandfinaltwistsappropriateforthispurpose.Intheliteratureclasswehadprocessedthestoryintheusualliteraryway,examiningcharacters,plot,centralproblem,complications,discoursesandrepresentations.Myresponding/productivetaskwastodeterminewhatvisualelementsweresuggestedbythestoryandhowthesecouldrepresentcomplicationsor‘turningpoints’.Withtheplotpointsanddialoguechosen,Idecidedtouseon-screentitlesforeachofthepivotalmomentstoleadtheaudiencethroughtheplotwithoutgivingtoomuchaway.Each
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on-screentitlewasaccompaniedbyimagesanddialoguechoicesthatreflectedthem.Forexample,“alovestory”wasfollowedquicklybyclipsofthemaincharactersgettingmarriedwhile“anunforgivablesin”wasfollowedbyshortactionshotsofthehusbandcheatingonhiswife,contrastedwiththeirweddingsceneasthemusicincreasedinintensity.Iusedjamendo.comformusic.Itisanonlineroyaltyfreemusicsitethatallowsfair-useofitstracksfornon-commercialpurposesacrossarangeofgenrefilters.Ichoseaninstrumentalpiecethatalsofollowedtheshortstoryandfilmtrailersstructure;aslowbuild-uptotheclimaxandthenasuccinctending.Ittookmeapproximatelyfortyminutestoplanforwhatwouldappearonscreen.Thisfactorwouldvary,dependingonthelengthandcomplexityoftheparentshortstory.However,thisplanningprocessisanimportantpartofdesignandhalvestheproductiontimeneededtofinishtheproject.WithoutplanningIwouldsayittakesaboutfourteenorsohoursincludingimportingmusic,images,dialogueetc.Witheffectivedesignandplanning,whichcanbedoneduringtheenhancingphaseofaunit,theproductiontimehalvestosevenhours,giveortakeafewdependingonyourlevelofabilitywiththeuserfriendlysoftwareIwillnowoutline.Whilstthismightseemlikealotoftime,ifoneweekofunitsynthesisingtimewasallowedforinlabs,thisshouldbeenough.
The movies (PC game)ThefirstpieceofsoftwarethatIusedwasonethatIoriginallyboughtforentertainment,butitseducationalvaluehasbeenunderestimated.The Movies isaPCSimulationGamereleasedin2005(LionheadStudios,2005).Thegameretailsnowinsomestoresforabout$8.00.Itallowsplayerstocreateandmaintaintheirownfilmstudioandcreatefilmsthatcanbeexportedthroughdigitalcharacters,removingthefearofhavingtophysicallyappearon-camera.ExportedfilesfortheWindowsversionofthegameareinWindowsMediaVideo(WMV)theMacversionsupportsQuickTimeexporting.Thefinalproducthasthelookandfeelofananimation.
Uponinitialstart-upofthegameyouneedtohireatleastonedirectorandplentyofactorstoplaytheirrolesandthenthecreativeworldiscompletelyuptoyouin‘sandbox’mode.Withaninfiniteamountofcashandtechnologyyouareabletocreateasmanyfilmsasyouwantusingthegivensetsandscenes.Itisawholelotoffunandveryeasytounderstandandworkwith.Itdoesn’ttakeverylongtomasterthebasicconceptsandeachcopyofthegamegivesyouastepbysteptutorialguidewithdemonstrationvideossoyouarenevertoofarawayfromguidance.Belowaresomeverybasicstepstomakinganewmoviewiththesoftware.
making a new movieStep1)Makesureyouhavehiredatleastonedirectorandasmanyactorsasyouneedfromthosewaitingoutsidethecastingofficeblockinthegames‘sandbox’mode(note:usetheyear1980asastartingyearwhenstartinganewgame)
Step2)BuildaCustomScriptwritingOffice
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Step3)Draganemptyscript,fromtheleft,totheAdvancedMovieMaker
Step4)Completetheopeningpagebytypingatitle,selectingagenreanddraggingactorstotheirroles.
Youcanalsousethecoat-hangericonontherighttochangetheiroutfitsforthefilm.
ThoseshownbelowareMrandMrsMarronerfrommyproject.
Step5)Selectthesparklingboxesunder‘Intro’
Step6)Selectoneofthethirtyeightsettingsprovided
Step7)Selectascene,thereareplentytochoosefrom.Usingthe‘filtersprovided’chooseone.
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Tutorial Button–Forguidanceabouthowtousethemoviemakertool.The Set–Addpropsandotheritemstodressupthesetforyourscenes.Props –ChangethepropsusedinaspecificsceneWeather and Lighting –Weatheroptionsincludeclear,rainorfogwhilelightingincludesday,nightandsunriseorsunset.Backdrops–Selectabackdropforyourscene.Turn On/Off Mannequin Models–Usedtoturnoffwoodenmodelswithnoactorsassignedtothem.Slider Options–Directingstrategiestochangeyourmovie.Theseincludethelevelofactioninascene,whereashotwillfocus,whetheritwillzoomoutorin,whatshottypeetc.Costume Department–Draganactorheretogivethemanewoutfit.Bin–Deleteascene,characterorobject.
“CrEATiViTy iS AS imPOrTANT AS liTErACy”: mAkiNg A film TrAilEr rESPONdiNg TO liTErATUrE
Step8)Oncethesceneisonthetimelineyoucandraganddropactorsfromtheirprofilepicturesontheleftintotheirrolesonscreenanduseanyofthesidetoolsontherighttomakemodifications.
Step9)Oncethescriptiswrittenandfilmed,dragittothePostProductionbuildingforexporting.OncethefilmloadsclickontheExportmoviebutton.Select‘highestquality’forexportingtoavoidmessylinesandgrainyvisuals.
Afterit’sexportedsearchforitonyourcomputerbythefilm’stitleandyouarenowfreetoimportitdirectlyintoWindowsMovieMaker.
Windows movie maker (microsoft)
importanttimesavingthingyoucandowhenusingtheprogram,iskeepallofyourphotos,movieclipsandmusicinoneplaceforeasyimporting.
IusedWindowsMovieMaker2007formytrailerwhich,althoughanolderversion,usesatimeaccuratetimeline.Thefirst,andmost
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Toimportanysourcematerialyouselectthe‘ImportMedia’iconatthetopleftandthenlocatethefileandhighlightallyourphotos,clips,musicetc.andselect‘import’.Itwillautomaticallyappearinthewhitespacetotheleftofthepreviewimage.
ImagesandclipsfromTheMovies,onceimported,canbedraggedintothetoprowofthetimelineforediting.
However,itisnottheimagesortheclipsthatbringthetrailertogether,itisthemusic.Whenyourmusichasbeenimporteditcanbedraggedtothetimelineatthebottomofthescreen.Itwillappearinthe‘Audio/Music’linebelowanyimagesandclipsthatyouwishtouse.Additionallythislinecanbeusedforspecificdialogueifyoudidnotincludeitin‘TheMovies’exportingprocess.
Onceyouhavethemusicinplaceyoucanpreviewyourvideoandcutdownthesizeofyourpicturesandfilessothattheyappearintheorderyouwantthemtoandaretimedeffectivelywiththemusic.
Youmayalsoimportopeningorsubtitlestodisplaythroughoutthemovieandevenscrollingcreditsattheveryendwiththeprogramsbuiltinoptions.
Simplyselect‘tools’andthen‘titlesandcredits’
Selectanyofthefourprovidedoptions;titleatthebeginning,titlebeforetheselectedclip,titleontheselectedclipandcreditsattheend.Thentypethewordsyouwanttoappear.
Youcanthencustomisetheseframesbyselectingthe‘changethetitleanimation’or‘changethetextfontandcolour’options
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Topublishyourmovie,selectthe‘publishmovie’iconandthenthe‘bestqualityformycomputer’option.Usuallyitsdefaultsavingspaceisthedesktopbutyoucaneasilychangethisand,whenit’sfinished,youhavecompletedamoviethatcanbeplayedonanydevice.Althoughitmaytakesometimetogetusedtotheprocessinitially,Iguaranteethatnotaminuteiswasted.Everypartofthecreativeprocessisexcitingandfuntocomplete,IneverthoughtthatIwouldsaythataboutauniversityassignment,butIdid,andtothisdayIstillgetenjoymentfromwatchingthefacesofpeopleIknowwhentheywatchthevideosIcreate.
ReflectionAsyoucanseethisproceduralguidetomakingafilmtrailermeansthatthispossibilityopensupanewwayofrespondingtoliterature.Wedonotneedtobelimitedtorecreatingnarrativeinprint-basedways.TheAC:Eprovidesassessmentmodelsofseriesofstillshotsonitswebsite,butthisprocessismoredynamicthanaseriesofstillshots,editedinPhotoStory3orsimilar,whichismoresuitedtodigitalstorytelling.Thereareotherwaystodothisalso,withoutusingtheadditionalgamingsoftware,byimportingclipsfromyoutubeandremixingtheminMovieMaker,butwhatimpressedmeaboutthisprojectwasthatChrystalworkedtocreateamuchmoreoriginalpiece.Moreover,itiswidelyacceptedinmediastudiesthatstudents’learningaboutprocessesandproductionoffilmthrough‘producing’orusingthetechnologiesismoreeffectivethanmerelyteachingthetheoreticalprinciplesofcinematiclanguages.Thereisnoreasonwhythisprinciplecannotbeappliedto
Englishclassroomsnowthatthehardwareandsoftwarecomponentsnecessaryforsuchcreativetasksaremorereadilyavailabletoourstudents.
resourcesTheMoviesPCGameAdvancedMovieMakerTutorial–http://www.youtube.com/watch?v=uOmhKS_SPO0TheMoviesPCGameAdvancedPostProductionTutorial–http://www.youtube.com/watch?v=XzzDOL5LQOYWindowsMovieMaker(2007)(software)Microsoft
references AustralianCurriculumandAssessmentReporting
Authority(ACARA).(2012).The Australian Curriculum: Learning area English: Version 3.Retrievedfromhttp://www.australiancurriculum.edu.au/Search?a=English&q=English.
Gilman,C.P.(1987).Turned.InB.Mellor&A.Patterson(Eds.),Reading Stories(1ed.,pp.13-23).Scarborough:ChalkfacePress.
Jetnikoff,A.(2011a).WhatdobeginningEnglishteacherswantfromprofessionaldevelopment?Australian Journal of Teacher Education,36(10),53-64.
Jetnikoff,A.(2011b).Whathappenedtotheeducationrevolution?newmediatechnologiesandTheAustralianCurriculum.InB.Doecke,G.Parr&W.Sawyer(Eds.),Creating an Australian Curriculum for English.Putney:PhoenixEducation.
O’Mara,J.(2006).BecomingL(IT)erate:Pre-serviceEnglishTeachersandICTs.English in Australia,41(3),44-48.
Prensky,M.(2007).Digital game-based learning St.Paul,MNParagonHouse.
QueenslandStudiesAuthority.(2010).English Senior Syllabus,2010.Retrievedfromwww.qsa.qld.edu.au.
Robinson,K.(2009).The Element.NewYork:VikingPenguin.
Anita Jetnikoff is a senior lecturer in English Curriculum studies at QUT. She is a former passionate Queensland secondary English teacher.Chrystal Armitage is a final year student at QUT. She is a recognised Dean Scholar and a proud participant in the Exceptional Teachers for Disadvantaged Schools program.
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Carly ZandstraUniversity of Wollongong
OneofthemostintimidatingthingsIlearnedasastudentteacherwasthatthepresenceoftechnologyintheAustraliansecondaryclassroomwasunavoidable,andonmyfirstplacementIwasthrusthead-firstintotheexperience.Ihadnevertaughtalessonbefore,hadonlyplannedonetheoreticallyatuniversity,andnotonlywasInervouswithanticipationwithjusthowIwouldaccomplishwhatseemedlikeataskreservedonlyformyimaginationandfor‘real’teachers,IbecameexceedinglyapprehensivewhenmysupervisingteachertoldmethatherYearSevenEnglishclasswereworkingwithadigitalnoveltitledInanimate Aliceandthatitwastimeformetotakethereinstoengagethemwith‘Episode Three: Russia’.
MyinitialintroductiontoInanimate Alicewasafrenzied,disjointedanddiverseexplanationfromagroupofstudentswhoseintentionwastoinform,butwhoseachievementwastoconfuseandfrighten.“It’saboutagirl,butwedon’treallyknowwhosheis”,“Aliceisanannoyingweirdgirlwhomovesaroundtheworld”,and“It’sstrange–weloveit!”“Whatdoesshelooklike?”Iaskedinignorance.“Wedon’tknow.”“Whatisthestoryabout?”Iaskedagain,hopingformoreinformation.
“Um...wecan’treallysay.”
Ilookedatthesestudentswithignoranceandreticence.
NowIwasreallyquitefrightened;notonlyhadIneverevenheard ofadigitalnovel,inretrospectIwasnotevenabletoformalogicalexpectationforwhatonemightactuallylooklike.Iimaginedwords–lotsofwords–andimagestoaccompanythem.OnreflectionIsupposethatIassumedthatadigitalnovelwouldbeapicturebookintheformofadigitaldocumentratherthanaprintedtextthatonewouldhold,turningthepageswitheachnewdevelopment.ThefurtherIconsideredthisidea,themoreconcernedIbecamewithoneprimaryfactor:howdoesawhole class ofYearSevenstudents,withvaryingabilities,differinglearningneedsandacolourfulassortmentofinterestsandpersonalitiesallreadadigitaltextat the same time?
Itseemedunlikelytomethatthiscouldactuallywork,howevertheassurancesoftheteacherandtheclearinterestexpressedbythestudentsthemselvestoldmeotherwise.SocamethetimethatIsetouttoexperienceInanimate AliceformyselfinpreparationforwhatIanticipatedtobeadauntingandsomewhatintimidatingexperience,andwhatIactuallydidexperienceisrepresentativeofexactlyhowignorantIwas.
(contains teacher resources) Screenshot of the Inanimate Alice website: www.inanimatealice.com
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meeting AliceThenightImetAlicewasonewhichturnedmynewlydevelopedunderstandingsoftechnologywithinthecontextoflearningupside-down,andledmetore-evaluatemyappreciationforwhatliteracyintheEnglishclassroomactuallylookedlike.TheInanimate AliceHomepageimmediatelydemonstratedtomethatthisresourcewouldindeedpresenttomefarmorethansimplyatextualnarrativewithsomeaccompanyingimages.Frominitialimpressions,onecanclearlyseethatthestoryofInanimate Alicetakesplacewithinfourchaptersandwithinfourdifferentnations,howeveronfurtherinvestigationitachievesmuchmorethanthis.
Thenarrativetoldwithinthefourchaptersthathavebeenproducedtodateexploresnotonlythelife,thestory,andtheexperiencesofAlice,butalsoherinnerjourneysasshegrowsfromayounggirlofeightyearsofageintoayoungwomaninhertwenties.AlthoughIwasgoingtobeteachingbasedonthecontentofthethirdepisode,whichtakesplaceinRussia,IstartedatthebeginninginordertodevelopasimilarrelationshipwithAlicetothatwhichthestudentsinmyclasshadalreadyestablished.Myunderstandingsofwhatadigitalnovelcomprisesweretransformedimmediately.Inanimate Aliceprovidessomuchmorethanpicturesandwords;itoffersanexperiencelikenootherandinnowayresemblanttowhatIhadimagined.MyconcernsthatsucharesourcewouldpresentdifficultiesinadiverseclassroomwerequashedimmediatelyasIwasdrawnintoaworldofvisual,auditory,sensoryandemotionalintrigue.
Inanimate AliceistoldfromthenarrativeperspectiveofAlice,withwhomitiseasytoseehowaclassofthirtystudentshadbecomessoattachedinjusttwoepisodes.Whiletextisanintegralcomponentofthisnarrative,itisbynomeansasolitarycommunicatorofmeaning;vividandsubtleimagery,enrichingmusicandcurioussound-effectsworktogetherwiththetexttoestablishanatmospherewithineachepisodethatdrawsyouintothecuriouslifeofAliceashermanyworldsareexploredwithsuchintrigueandmysteryastoconsistentlyinstigate
conjectureastowhoAliceis,wheresheisfrom,theroleofherparentsandthereasonforhermovementaroundtheglobeforthepurposeofherfather’soccupation.
Therelationshipbetweenthisyounggirlandherparents,JohnandMing,isshroudedwithmysteryandcloudedwithintrigue.Whilewearegivensubtlecluesastothepersonalities,occupationsandrelationshipswithinthissmallfamily,somuchislefttotheimagination.HereliesoneofthemostnoteworthyaspectstoInanimate Alice:theemotionsthatareinterwovenintothestory.Itisremarkablehowthequitesubtleimageryandsoundcombineswiththeminimalinclusionoftexttoestablishsuchastrongandemotiveexperience.
Oftenhumorousandattimesquiteeerie,sometimesevenfrightening,Inanimate Alicedoesnotfailtokeeptheviewerinterested,engagedandwantingmore.Mostnotably,thereisastrongdesiretoreallyknow Alice,evenatsuchtimesasherbehaviourandattitudescanbefrustrating(hereiswhereIlearnedwhysomeofthestudentsreferredtoherasa“weirdlittlegirl”).However,Inanimate Aliceisnotsimplyanarrativeaboutayounggirlandherfamily,italsoexplorestheinnercharacterofAlicewithsuchskillthat–whilewedonotknowwhereAliceisfrom,whatshelookslike,oranythingbeyondtheverybasicaboutherlife–wearedrawnintotheverycoreofherpersonalitythroughaskilfulandverypersonalportrayaloftheinnerworkingsofherthoughts.Aswellasthetextual,visualandauditoryaspectsofthisdigitalnovel,itdoesnottakelongfortheviewertodiscovertheimportantroletechnologyhastoplaynotonlyinviewingthetext,butalsoinformingarelationshipwithAliceherself.
Fromthefirstepisodetothelast,acentralcharacterinthenarrativeofInanimate AliceisthatofBrad,adigitalavatarthatAliceherselfdescribesashavingcreatedherself.AlthoughwearedirectlytoldthatBradisjustagraphicimage,asthestorygrowssotoodoesAlice’srelationshipwiththis‘imaginary’friend,whichaddsfurthermysteryandintriguefortheviewerasthetwoseeminglyinteractonfarmorethanjustadigitalandimaginativelevel.Theviewer
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islefteitherquestioningthefictionalexistenceofBradorthepsychologicalstabilityofayounggirlwhointeractswithhim.Eitherway,thisrelationshipprovidesawonderfulopportunityforclassroomdiscussionandengagement.
InadditiontoBrad,Alicealsodemonstratesherinterestinthegamingworldbycreatinginteractivegamesthatareincorporatedintothenarrative,andasthestoryprogressessotoodoherabilitiesandthecomplexityofhercreations.Thegamesbecomeamoreintegralcomponenttotheevolutionofherstoriesasthisdigitalnoveltransformsfrombeinganexperienceofviewingandlisteningtoonewhichactivelyengagestheviewerbynecessitatingthecompletionofhergamesinordertoprogressthroughthestory.ThisagainreflectsthegrowthofAlicefromayounggirlintoayoungwoman,demonstratingherdevelopingmaturityandskillsasagamedesigner.TheimageofBrad,too,transformswithAlice’sgrowthasadigitalanimator,andinmyownprivateviewingofInanimateAliceIcouldseeimmediatelythatthiswouldbeanareaworthexploringwithintheclassroomcontext.
Previousignoranceinrelationtodigitalnovelsabated,IfeltsignificantlymoreconfidentaboutbringingalearningexperiencebasedonEpisodeThreeintotheYearSevenclassroom.However,havingstillnevertaughtwithtechnology,Iwonderedhowonestorywhichrequiredtheinteractionofonlyonepersonwouldengageaclassroomofthirtystudents.InwatchingEpisodeThree,IhadmovedthroughtothefinalstagesofthestorybeforeIrealisedthatthecompletionofthegameAlicehadinventedwasactuallyarequirementinordertoprogresstotheendofthechapter,andasaresultIhadtore-visitmuchofthestorytocompletethetask.Ittookmearoundfortyminutestocompletetheentirechapter.Thisiswheremyignoranceraiseditsuglyheadagain;ImadetheassumptionthatthegamewouldseemasdifficultandtimeconsumingforaYearSevenstudentasithaddoneforme.HowwrongIhadbeen.
Themuchanticipateddayhadarrived;thelaptopwasconnected,theprojectorturnedon,andthechapterwasloadedandreadytogo.I
madeanotherassumptionthatIwouldhavetochoosesomeonetooperatethestoryandassistthemwhereneeded,butIfoundthatthestudentswerehappytodemocraticallyelectsomeonewhohadnotalreadyheldthemuchcovetedpositionofInanimate Aliceoperator,andwhomwasunderstoodtobeagamingwhiz.Theengagementofthisclassduringtheviewingwasanexcitingthingformetobehold,aswasthewayinwhichtheclasssupported,clappedandcheeredtheoperatorashe(withgreatspeedandefficiency)progressedthroughthegameAlicehadcreated.Fromtheroomtherewaseithersilence,orthereweregaspsofsurprise,groansoffrustrationandsighsofrelief,anditwasclearformetoseethatthesestudentshadbecomeasattachedtoAliceasIhad.
Screenshot of the opening text in ‘InanimateAliceEpisode1:China’
lesson One NB: this lesson was facilitated by the regular teacher, but I became involved in discussions.
ThestudentswatchedInanimate Alice.Beforeitrequiredanyinteractivity,studentsdiscussedthemusicandwhattheyexpectedfromtheopeningscenesbasedonwhattheyheard.Allofthestudentssaiditsoundedscary,andthatAlicewasprobablyeitherstucksomewhereorfightingwithherparents.IaskedthestudentstopayparticularattentiontoBrad,whathelookslike,atwhattimeshecomesintothestory,andAlice’srelationshipwithhim.
Theepisodewaspausedatintervalstodiscusssetting,narrativeandimagerythatprovidedtheviewerwithasenseofplace.WealsodiscussedAlice’sfatherandwhathedidforaliving,linkingthefamily’sescapeattheendoftheepisodetotheimagesofindustrialSerbia.
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Therewasalsoafocusonthewaysinwhichthecreatorsrepresentpeoplewithoutshowingfaces,inparticularthefaceoftheguardattheairportandtheuseoflightinthecar.
OnfurtherdiscussionaboutBrad,manyofthestudentssaidtheyweren’tsureanymoreifhewasmadeupafterall,becauseheseemedtogiveAliceadvice,howevermanyofthestudentsbelievedthatAlicehadtoogoodanimaginationandthathewasn’trealatall.WediscussedwhyBrad’swasoneoftheveryfewfacesweactuallysaw.
lesson Two Thelessonbeganwithdiscussion,wherestudentsrespondedtopromptingquestionsaboutAlice’srelationshipswithherparentsandBrad.IwantedthestudentstofocustheirattentiononBrad,andaskedthemtobuildargumentstosupportwhytheybelievedheeitherwasorwasnotreal,withstudentsworkinginpairstocomeupwithsomepointsabouttheirarguments.WediscussedhowBrad’simagehadevolvedasAlice’sskillsasadesignerimproved,andIaskedstudentsaboutthedifferencebetweenarealperson,acharacterinastory,andanavatar.ThediscussioncamebackaroundtoBrad,andthestudentsdiscussedtheirargumentsastowhetherBradwasacharacterinthisstory,oranavatar.
ManystudentssuggestedthattheimageofBradwasimaginedandcreatedbyAlice,butthattherewasarealpersonwhotheimage‘represented’.Thisledexcellentlyintothenextactivitywhichrequiredstudentstoconsiderthewaysinwhichpeoplerepresentedthemselvesthroughtheuseoftechnology.
Thestudentsworkedagaininpairsorsmallgroupstolistsomecharacterstheyknewoffromtelevision,books,moviesetc.,andthenlistedsomeplaceswhereapersonmightuseanavatar.Theysharedtheirideas,andafewstudentswhowerestrugglingbetweenthedifferencebetweenarealpersonandanavatarwereabletounderstandtheconceptsthroughpeerdiscussionandexamples.OneofthechallengesforsomewastheideathataFacebookphotographwasnota‘realperson’,butsimplyarepresentationofthatperson.
WhenIknewthatallstudentsunderstoodtheconcepts,Igavethemeachasheetofpaperthataskedthemtolistsomeaspectstotheirownidentitiesthattheywouldhappilysharewithothers.Thepromptingquestionsontheworksheetaskedthemabouttheirhobbies,interests,family,friends,schooletc.
Nextthestudentshadtodrawanavatarthattheywouldusetorepresentthemselvesonline.
lesson Three Icollectedtheworksheetsandavatarsfromthepreviouslessonandusedtheinformationprovidedtodividetheclassintogroupsofthree/four,tryingtoplacepeoplewithsimilarhobbiesandinterestsinthesamegroup.
Iprovidedeachgroupwithaphotographbasedonthis(forexample,onegrouphadanimageofamanwithanenormousgoldnugget,anothergroupasurfer,anotherhadasoccerplayerscoringagoal)andtheirtaskwastoworkinreverse,imaginingthatthiswasanavatarandtheyweretocreatethepersonality.Ialsoprovidedeachgroupwithalargesheetofcardboard,pens,markers,glueandsomeblankpaper,makingitclearthateverypersonhadtocontributetotheposterbywritingonthepaperandgluingitontothecardboard.ItwasariskdividingaclassintogroupsthatIdidn’tknowverywell,buttheyrespondedverywelltotheactivityandmanystudentswhodidn’tusuallyworktogetherfoundcommongroundintheirinterests.
Theclasswasinstructedtousefirst-personvoiceintheirposters,whichwasachallengeforsomesoIwrotesomepromptinglinesontheboardforthemtoreferto,e.g.“Mynameis…Ilive…Iam…Ilike…Ihave…Ienjoy…”Allofthestudentsparticipatedwell;theymoderatedtheirownbehaviourandregulatedtheirtime.MyrolewasasfacilitatorasImovedaroundtheroomanddiscussedworkwithgroups.
Allstudentswereawarethattheposterswouldbepresentedandsopaidparticularattentiontospelling,grammarandtheiruseofcolourandtextsize.Theywereallveryimaginativeandcreatedsomeverycomplexcharactersandlife-stories.
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Discussionattheendofthelessonprovidedmewithanunderstandingthattheywereallcreatingapersonthattheywouldliketobefriendswith,andwhomtheybelievedwouldrepresentintheirownliveswhatBradrepresentedinAlice’slife.
lesson four Thislessonwasmuchthesameasthelast,withgroup’sfurtherworkingontheirposters.Studentswereabletomoveintotheirgroupswithminimumdisruptionandbeginworkingeffectivelywithtime-managementinmind.
lesson five NB: I only taught ½ of this lesson as their teacher had to give them an assessment notice
Studentspresentedtheirposterstotheclassandtheirregularteacher,whowasparticularlyproudoftheparticipationofsomeofthemorechallengingstudents.Theywereallverysupportiveandencouragingintheirfeedbacktoeachother,andsomeevenaskedquestionsaboutthecharactersthathadbeencreatedasiftheywererealpeople.
Manyofthestudentsagreedthattheyfeltattachedtothecharacterstheyhadcreated,whichledtodiscussionaboutAlice’srelationshiptoBrad.AfewwhohadpreviouslyheldtheviewthatAlicehadtoogoodanimaginationstartedtounderstandhowsomeoneaslonelyasshecouldfindcomfortinan“imaginaryfriend”.
WediscussedwhatwemightexpectfromfutureepisodesofInanimate Alice,andIaskedstudentsiftheythoughtthatBradwouldbecomelessimportantinAlice’slifeasshegrewolder.Somebelievedhewould,whileothersbelievedthathisavatar,personalityandinvolvementinAlice’slifewouldbecomemorecomplexanddetailed.
ThiswasthelastlessonItaughtthisclass,butthepostersareafeatureontheirclassroomwalls.
BriNgiNg iNANimATE AliCE TO lifE iN ThE ClASSrOOm
links to the Australian Curriculum: EnglishNotes on Carly’s lessons by Kelli McGraw
IwasimpressedbyhowmuchlanguageinstructionandcreativeactivityCarlyZandstrawasabletoplanforjust4–5lessons,andwantedtoprovidesomeadditionalmaterialattheendofthisarticletohelpteacherslinkthelessoncontenttothenewAustralianCurriculumforEnglish(AC:E).
WhileYear7hastraditionallybeentaughtinQueenslandprimaryschools,thisYearlevelwillsoonbebroughtintohighschoolsandtaughtwithinsecondaryEnglish.Thisprovidesuswithanopportunitytore-thinkhowweengageouryoungeststudentcohortwithinnovative textsthatarerelevanttotheirexperience,andthesetoflessonsprovidedaboveareanexampleofthisapproachinaction.
AC:E Content in lessons on inanimate AliceContentdescriptorsfromtheAC:Ethatarecloselyattendedtointhelessonsaboveinclude:
Language Strand Content
• Understandthewaylanguageevolvestoreflectachangingworld,particularlyinresponsetotheuseofnewtechnologyforpresentingtextsandcommunicating(ACELA1528)
• Understandthatthecoherenceofmorecomplextextsreliesondevicesthatsignaltextstructureandguidereaders,forexampleoverviews,initialandconcludingparagraphsandtopicsentences,indexesorsitemapsorbreadcrumbtrailsforonlinetexts(ACELA1763)
Screenshot of Brad in ‘InanimateAlice
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BriNgiNg iNANimATE AliCE TO lifE iN ThE ClASSrOOm
• Analysehowpointofviewisgeneratedinvisualtextsbymeansofchoices,forexamplegaze,angleandsocialdistance(ACELA1764)
Literature Strand Content
• Reflectonideasandopinionsaboutcharacters,settingsandeventsinliterarytexts,identifyingareasofagreementanddifferencewithothersandjustifyingapointofview(ACELT1620)
• Comparethewaysthatlanguageandimagesareusedtocreatecharacter,andtoinfluenceemotionsandopinionsindifferenttypesoftexts(ACELT1621)
• Recogniseandanalysethewaysthatcharacterisation,eventsandsettingsarecombinedinnarratives,anddiscussthepurposesandappealofdifferentapproaches(ACELT1622)
Literacy Strand Content
• Analyseandexplaintheeffectoftechnologicalinnovationsontexts,particularlymediatexts(ACELY1765)
• Comparethetextstructuresandlanguagefeaturesofmultimodaltexts,explaininghowtheycombinetoinfluenceaudiences(ACELY1724)
• Plan,draftandpublishimaginative,informativeandpersuasivetexts,selectingaspectsofsubjectmatterandparticularlanguage,visual,andaudiofeaturestoconveyinformationandideas(ACELY1725)
Connect with the Alice teaching communityThecreatorsandfriendsofInanimate AlicehaveestablishedspacesforteacherstocollaborateandconnectonFacebook,TwitterandEdmodo:https://www.facebook.com/InanimateAlicehttps://twitter.com/inanimatealice/http://www.edmodo.com/publisher/inanimatealice
TeachingmaterialsarealsoregularlyuploadedonthePrometheanPlanetwebsite(IWBresources)andonPinterest:http://community.prometheanplanet.com/en/user_groups/inanimate__alice/default.aspxhttp://pinterest.com/source/inanimatealice.com/
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The English Teachers Association of Queensland22
National conferences are a great place to catch up with colleagues and be re-invigorated in your teaching. Spending time in the harbour city provided plenty of opportunities for both of these. my conference opened with a masterclass at the Conservatorium high School, perched high above Sydney harbour and within the royal Botanical gardens in the heart of the city.
2012 AATE NATiONAl CONfErENCEfiona laing
DrNeilJames,sponsoredbythePlainEnglishFoundation,presentedafascinatingfulldayworkshopentitledRediscovering rhetoric: The lost craft of persuasion.ThisdaybeganwithatripdownancienthistorylanetotheoriginsofrhetoricinAncientGreeceandRome.TheprinciplesofAristotleandCiceroprovideaverysolidbasisforunderstandingpersuasion.Politicsandcommercetodayrelysoheavilyontheseprinciplesandtheyremaincentraltomuchofwhatweteachinwritingandspeakingwithinschools.Ifoundhisprocessoftestingargumentsastotheirrelativeworthparticularlyhelpful.
ThemiddlesegmentofhisdayrevolvedaroundthePlainEnglishFoundation’sprinciplesofwritingwiththeleastamountofgobbledegookintherealmsofbusinessandpublicdiscourseingeneral.Thereissomeconflictbetweenthestyleheisteachingandthepush,inschoolEnglish,toteachnominalisationtoourstudents.Forthosewellschooledinnominalisation,itcanbecomeusefulto‘dropit’inpublicdiscoursewhenmoredirectcommunicationismosthelpful.However,itcertainlyneedstobetaughttoourstudentsfirst.
Thelastpartofhisworkshopofferedveryvaluableadviceabouttherhetoricofstylewithgoodold-fashionedanalysisofgreatwritingandthetechniquesusedtomakeit‘sing’.Mylistofformsofrepetitionwasexpandedfromalliteration(andafewothers)toepanalepsis,anadiplosisandantimetabole(whichareactuallyveryhelpfultostudentsinwritingpersuasionforNAPLAN).Overall,thedaygavedepthtomyunderstandingofthingsIhadknownaboutandofferedmeanewarsenalinmyteachingofpersuasion.
OurconferencepropermoveduptowntoSydneyGrammarSchoolwithmytwomainhighlightsbeingpapersfromProfessorWayneSawyerandAssociateProfessorJackieManuel.Sawyerreportedonhisresearchwithinthe
Teachers for a Fair Go Project.Thirtyteachers,identifiedas‘makingadifference’tostudentsfrompoorbackgrounds,werestudiedindepthtoidentifythepracticesthattargetedunderachievement.SawyersharedthepracticeoftheEnglishteacherswithinthatgroup.Itwashelpfultolookinsidetheseclassroomsandanalysewhatgoodteachersdowiththeirstudents,remindingalloftheneedtokeepexcellentpracticeattheforefrontofwhatwedo.Thefindingsareoutlinedintherecentlypublishedbook,Exemplary Teachers of Students in Poverty, editedbyGeoffMunns,WayneSawyer,BronwynCole.
JackieManuel’spaperfocusedonherstudyofalargegroupofAustralianteenagers’readingpractices.AsaHODinalowerendSESschool,ithasbecomeveryclearthatimprovedreadingremainsthecornerstoneofrealimprovementthatwillsustainlong-termacademicsuccess.Therefore,gettinginsidetheheadsofteenstounderstandtheirchoicesaroundreadingwasveryhelpfulinassistingmeinplanningthereadingjourneybackatmyowncampus.
Itwasveryenjoyabletofinishourconferencewiththecomedian,JonathanBiggins,bynomeansanobviouschoiceforanEnglishteachers’conferencebutneverthelessahighlight.Placedattheendoftheprogram,hisreverieoncreatinghumourprovedreflectiveandinsightful.Hesharedhiscareertrajectoryandhisprocessofcreatingcomedy.WithsatirenowastapleofthenewAustraliancurriculum,itwasveryusefultospendthelasthourofourconferenceplayingaroundwithacomedianandhiscraft.
Sydneyprovedastimulatingexperienceandofferedplentyoflearningstobetakenbacktomyclassroomandschool.ItalsoofferedmuchthathasprovedinvaluableasourcommitteebeaversawayonfinalisingthedetailsforthenextAATEconferenceinBrisbaneinJulythisyear
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ASiAN rEPrESENTATiONS iN filmS fOr ThE AUSTrAliAN CUrriCUlUm:
AN ANNOTATEd gUidEAnita Jetnikoff and melissa kelly
Queensland University of Technology
inthisannotatedguideweofferareferencelist,withbriefsynopses,ofpossiblefilmsforinclusioninschoolsandlinkedtothe
AustralianCurriculum:English(AC:E).ThesefilmsmeetoneofthethreecrosscurriculumprioritiesintheAustralianCurriculum,whichisStudiesofAsia,specificallyAustralia’scontributiontoAsiaandAsia’simpactonAustralia.Thisprioritywasrecentlyintroducedtocurriculumpolicyinthe2008MelbourneDeclaration(MinisterialCouncilforEducationEarlyChildhoodDevelopmentandYouthAffairs,2008).
InthisguideweincludeAustraliansfilmsmadebyAsianAustralianfilmmakers,aswellasfilmsaboutpeoplefromAsiancountriesinAustralia,whererepresentationsofAsiaareasignificantpartofthefilm’scontent.AstheAustralianCurriculum:English,(AC:E),states,“(s)tudentsuseinterculturalunderstandingtocomprehendandcreatearangeoftexts,thatpresentdiverseculturalperspectivesandtoempathisewithavarietyofpeopleandcharactersinvariousculturalsettings”(AustralianCurriculumAssessmentandReportingAuthority,2013).TheACARAdocumentalsostates:
IntheAustralianCurriculum:English,thepriorityofAsiaandAustralia’sengagementwithAsiaprovidesrichandengagingcontextsfordevelopingstudents’abilitiesinlistening,speaking,reading,viewingandwriting.
TheAustralianCurriculum:EnglishenablesstudentstoexploreandappreciatethediverserangeoftraditionalandcontemporarytextsfromandaboutthepeoplesandcountriesofAsia,includingtextswrittenbyAustraliansofAsianheritage.ItenablesstudentstounderstandhowAustraliancultureandtheEnglishlanguagehavebeeninfluencedbythemany
AsianlanguagesusedinAustralianhomes,classroomsandcommunities.
Inthislearningarea,studentsdrawonknowledgeoftheAsiaregion,includingliterature,toinfluenceandenhancetheirowncreativepursuits.Theydevelopcommunicationskillsthatreflectculturalawarenessandinterculturalunderstanding.(ACARA,2013)
InEnglish,thisCrossCurriculumPriority(CCP)meansrespondingtofilmthroughbothcriticalandaestheticfaculties,thatistosay,wewantstudentstoengageincreativeandcriticalthinkinginresponsetothesetexts.Whenwebegantoresearchthisarea,wefounditwasdifficulttofindfilmtextssuitableforschoolsinthefirstplace.WehopethisannotatedreferencelistmightservetofillthatgapforteachersandtoalsoalignthisnewCCPwithsomeoftheknowledgeoftheotherrequiredGeneralCapabilitiesoftheAC:E,whichwehavemappedinthetable.
Aswellas‘criticalandcreativethinking’,wealignthefilmsherewithfosteringof‘interculturalunderstanding’,‘literacy’,(inparticular‘cineliteracy’orthelanguageoffilm),‘ethicalunderstanding’,‘personalandsocialcapability’.Inaddition,InformationandCommunicationTechnology(ICT)capabilitiesmightbedeployedinordertocomposeresponsestothefilms.SincetheAC:Edefinesfilmasa‘literaryform’,inclusionofoneormoreofthesefeaturefilmsshouldalsodevelopallthreeAC:Estrandsoflanguage,literatureandliteracy,dependingontheframingoftheunitcontextinwhichtheyareviewed.Wealsosuggestsomecompaniontextsthatmaybestudiedalongsidethesefilmstomakeintertextualconnectionsbetweenliteraryandnon-literarytexts.ThefilmshereareallavailableonDVDandalthoughthelistisinnowayexhaustive,itisaplacetobegin.
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ASiAN rEPrESENTATiONS iN filmS fOr ThE AUSTrAliAN CUrriCUlUm: AN ANNOTATEd gUidE
Australian features films by Asian Australian directors and/or Asian Australian themes
Film (year),genreandlanguage
Director/ProductionDetails
Film Synopsis
Year level suitability
AC:E GCs Suggested Companion Texts
Lucky Miles (2007)
English,Arabic,BahasaIndonesianandCambodian(EnglishSubtitles)
Michael Rowland
Twogroupsofasylumseekers,fromCambodiaandIraq,arestrandedonaremoteWesternAustralianbeachbythecrewofanIndonesianfishingboat.Theyareinstructedtowalkoverthedunestoaroad(whichdoesn’texist)andwaitforabus(thatwillneverarrive).Realisingtheyhavebeenduped,thetwogroupssetoffindifferentdirectionstofindPerth.Althoughmostoftheasylumseekersarequicklyroundedupbylocalauthorities,oneIraqi,oneCambodianandanIndonesianfromthestrandedboatcrewbeginanepicjourneysouththroughthevastPilbararegion,pursuedbyareluctantarmyreservistunit.
Junior Secondary (9 or 10)
AC:E GCs: Literacy; ethical understanding; intercultural understanding; personal and social capability
Short stories(includingpersonallife-storiesbyyoungrefugees)No place like home: Australian stories.(Dechian,2005)
Another Country: writers in detention(Keneally&Scott,2007)
Film:Southern Cross (deFreist,2004)
Bondi Tsunami (2003)
Roadtrip-drama/comedy/MTV
EnglishandJapanese(withEnglishsubtitles)
Rachael Lucas(writer,director)
Bondi TsunamiisamixedgenrefilmwhichfollowstheadventuresofJapanesesurfingtourists,YutoandSharkonasurreal,anime-inspiredroadtripastheytravelnorthfromBondi,headingtowardsSurfersParadise.OnthewaytheypickupKimikoandthemysteriousGanjaMan.Theirtreknorthismarkedbyvisitstoanumberof‘big’Australianlandmarks.Thefilmoffersauniqueperspectiveof‘temporaryAsian-Australians’astheyobserveandparticipateinAustralianculture.
Upper Secondary (10 or 11)
AC:E GCs: Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability
FilmorTVseries: Puberty Blues (Beresford,1981/2003)(Banks&Edwards,2012-)
Film:Japanese Story(Brooks,2005)
ShortStory:Tourism(Law,2008)
Floating Life (1996)
Drama
EnglishandCantonese
Clara Law(writer,director)
AChinesefamilymigratefromHongKongtoAustraliaandfindthemselvescaughtbetweentwocultures.(NFSA,http://www.nfsa.gov.au/)
Clara Law is a Hong Kong Second Wave film director, now relocated to Australia.
Junior Secondary (9 or 10)
AC:E GCs: Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability
SBSTVseriesHybridLifeshortfilm:Delivery Day(Manning,2000)
Film:The home song stories (Ayres,2007)
LifeStories:Plantings in a New Land (Ling,2001)
GrowingupAsianinAustralia(Pung,2008)
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ASiAN rEPrESENTATiONS iN filmS fOr ThE AUSTrAliAN CUrriCUlUm: AN ANNOTATEd gUidE
Australian features films by Asian Australian directors and/or Asian Australian themes
Footy Legends (2006)DramaEnglishandVietnamese
Khoa Do(writer,director)
LucVuisoutofworkandstrugglingtocareforhissister,Anne.WhenauthoritiesthreatentoremoveAnneintocare,LucdecidestheonlywayforhimtopullhislifetogetheristoreunitehishighschoolRugbyLeagueteamandenterthelocalchampionshipcompetition.ThisfilmexploresanumberofdifferentmasculinerepresentationsasLuc’shighschoolmatestrytorecapturetheirglorydays,andprovetotheirthemselves,theirfamiliesandtheworldtheyhavewhatittakestobechampions.
Born in Ho Chi Minh City, Vietnam, Khoa Do is a film director, screenwriter, professional speaker and philanthropist who received the Young Australian of the Year Award in 2005. The Do family arrived in Sydney as Vietnamese refugees in 1980.
Junior Secondary (9 or 10)Moderate language
AC:E GCs: Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability
Novels:Deadly Unna(Gwynne,1998);Nukkin Ya(Gwynne,2000);Film:Australian Rules(Goldman,2002)Autobiography:The Happiest Refugee (Do,2010)
Jammin’ In The Middle E (2006)TVdramaEnglishandArabic,(Englishsubtitles)
Mkim Mordaunt(writer,director)
SetinSydney’s‘LittleLebanon’,Jammin’ in the Middle Eisashortfeature(50mins)aboutanArabAustralianfamily.Naima,aunistudent,isagoodgirlwhocomplieswiththewishesofhertraditionalfather,Said,andtakescareofherfamily.Herbrother,Ishak,can’tseemtostayoutoftroubleandfindshimselfonthewrongsideofthelocal‘tough’,Sharief.Withthehelpofhismechanicfriend,Rafi,Ishakdesperatelytriestopreparehiscarforastreetrace.Whenitbecomesclearhisunreliablecarwilllose,IshakinsteadchallengesSharieftoarapslam.
Year11and12
AC:E GCs: Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability
ShortStories:Nothing Interesting about Cross Street(Yahp,1996)Play:The Modest Aussie Cossie (Valentine,2010)
Japanese Story (2002)DramaEnglishandJapanese(Englishsubtitles)
Sue Brooks Australian‘sheila’SandyreluctantlyacceptsthejobofdrivingJapanesebusinessmanHiromitsuonatourofthePilbaraminingregioninWesternAustralia,inthehopeofsellinghimthegeologysoftwaredevelopedbyhercompany.DespitebeingawareofthemanydangersoftheremoteareasofnorthWesternAustralia,SandycapitulatestoHiromitsu’stouristdemands,untilthedangerthatisalwayspresentirrevocablychangestheirlives.
Senior (11or12)Moderate language, nudity, sex scenes
AC:E GCs: Literacy (cineliteracy); intercultural understanding; personal and social capability
Films:Bondi Tsunami(Lucas,2004);The Goddess Of 1967(Law,2000);
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ASiAN rEPrESENTATiONS iN filmS fOr ThE AUSTrAliAN CUrriCUlUm: AN ANNOTATEd gUidE
Australian features films by Asian Australian directors and/or Asian Australian themes
Mao’s Last Dancer (2009)DramaEnglishandMandarinChinese(Englishsubtitles)
Bruce Beresford
Theinspirationaltruestoryofayoungboy’sextraordinaryjourneyfrompovertytointernationalstardom.FromgruellingapprenticeshiptoclassicaldancerincommunistChina,tothegloryofcreativefreedominAmerica.But,thereisapainfulpricetobepaidforhisquestforself-expression.Mao’s Last Dancercapturestheintoxicatingeffectsoffirstloveandcelebrity,thepainofexile,andultimatelythetriumphofindividualendeavouroverideology.“Beforeyoucanfly,youhavetobefree”.Mao’s Last Dancer Press Kit(Smith,2010)
9or10 AC:E GCs: Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability
Novel:Mao’s Last Dancer(Li,2008)
Southern Cross (2004)
Drama
English
Mark DeFriest(writer,director)
Thisisaquestfilm.Withtheirmotherdead,illegalimmigrantsLiangandBodecidetoescapefromtheoutbackdetentioncampwheretheyarebeingheld.Armedonlywiththeknowledgeto‘followtheSouthernCross’thekidsmakeadaringescapetofreedom,onlytorealizefirsthandthatWesternAustraliaisavastandhostileland.
Year7,8 AC:E GCs: Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability
Documentary:Letters to Ali(Law,2004)
Poetryandlifestories:Another Country: writers in detention(Keneally&Scott,2007)
No place like home: Australian stories.(Dechian,2005)
The Finished People (2003)
Mockumentary
English
Khoa Do(writer,director)
Do’salmost-documentaryoffersaglimpseintothelivesofhomelessyouthsinCambaratta,insouth-westernSydney.Featuringstorieswrittenandperformedbysomeofthesubjects,The Finished Peopledocumentstheirstruggletosurvivedespitetheharshrealitiesofanexistencewithanuncertainfuture.
Born in Ho Chi Minh City, Vietnam, Khoa Do is a film director, screenwriter, professional speaker and philanthropist who received the Young Australian of the Year Award in 2005. The Do family arrived in Sydney as Vietnamese refugees in 1980.
12
Drugs, crime, HIV aids
AC:E GCs: Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability
Shortstories (Personallife-storiesbyyoungrefugees): No place like home: Australian stories.(Dechian,2005)
Film: Walking on Water(Ayres,2003)
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Words’Wor th April 2013 • Volume 46, Number 1 2�
ASiAN rEPrESENTATiONS iN filmS fOr ThE AUSTrAliAN CUrriCUlUm: AN ANNOTATEd gUidE
Australian features films by Asian Australian directors and/or Asian Australian themes
The Goddess Of 1967 (2000)DramaEnglishandJapanese (EnglishSubtitles)
Clara Law(writerwithEddieLing-ChingFong,director)Nudity,moderatesexscenes,incest,moderatelanguage
ThetitularGoddess,a1967CitroenDS,drawsawealthy,boredandnaiveJapanesemanfromTokyotoAustralia.Havingagreedtopurchasethecar,hearrivestofindthevendorsdeceased,andagreestodriveayoungblindgirlonafivedayjourneyintotheopal-miningregionofAustraliatoacquirethenecessarypapersfromthecar’scurrentowner,BG’sgrandfather.ThestoriesofJMandBGaretoldthroughaseriesofflashbacksastheytravelthroughregionalAustralia,providinginsightandimpetusfortheirindividualquests.Clara Law is a Hong Kong Second Wave film director, now relocated to Australia.
Senior(11,12)
Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability
Japanese Story (Brooks,2004);Bondi Tsunami (Lucas,2004);
The Home Song Stories (2007)DramaEnglish,Mandarin,andCantonese(EnglishSubtitles)
Tony Ayres(writer,director)
ThisautobiographicalfilmfollowsthestoryofRose,aglamorousnightclubsingerfromHongKong,aswitnessedbyheryoungson.Alwayslookingforgreenerpastures,RosedragsherchildrenfromHongKongtoMelbourne,viamarriagetoasmittennavalofficer,andonthroughasuccessionof‘uncles’asshepursuesthelifeshebelievessheisdestinedtolead.Thefilmdealswithissuesofdysfunctional,familialrelationshipsandhybrididentities.Tony Ayres (born 16 July 1961) is a Chinese-born Australian screenwriter and director.
Senior (11, 12)Moderate sex scenes, moderate language, suicide
Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability
Autobiography: Unpolished Gem (Pung,2006)Lifestoriesandshortstories: Growing up Asian in Australia (Pung,2008)Quarrel(Chan,2008)The Year of the Rooster(Chou,2008)
My Tehran For Sale (2009)DramaPersian(EnglishSubtitles)
Granaz Moussavi(writer,director)HIVaids;genderissues
MarziehisayoungfemaleactresslivinginTehranwhosetheatreworkisbannedbytheauthorities.Atanundergroundrave,shemeetsIranianbornSaman,nowanAustraliancitizen,whooffersherawayoutofhercountryandthepossibilityoflivingwithoutfear.Thisfilmdealswiththeplightofthosewantingtoexpressthemselvesartisticallyinanoppressivecountryandtheproblemsofdetention.(NFSA,http://www.nfsa.gov.au/)Granaz Moussavi is an Iranian-Australian contemporary poet, film director and screen writer. She is primarily renowned for her avant-garde poetry in the 90’s. Her award winning debut feature film My Tehran for Sale is an acclaimed Australian-Iranian co-production in conjunction with the South Australian Film Corporation.
Literacy (cineliteracy); ethical understanding; intercultural understanding; personal and social capability
Documentary: A Wedding at Ramallah (Salama,2002)Lifewritingstoriesandpoetry: Another Country: writers in detention (Keneally&Scott,2007)GranazMoussavi’spoetryandotherIranianwomenpoets’workintranslationcanbefoundat:http://voiceseducation.org/content/granaz-moussavi
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ASiAN rEPrESENTATiONS iN filmS fOr ThE AUSTrAliAN CUrriCUlUm: AN ANNOTATEd gUidE
referencesAustralianCurriculumAssessmentand
ReportingAuthority,ACARA.(2013).The Australian Curriculum: English v 4.1: English Cross Curriculum Priorities.Retrievedfromhttp://www.australiancurriculum.edu.au/English/Cross-Curriculum-Priorities.
Ayres,T.(Director).(2003).Walking on water.Australia:MadmanEntertainment.
Ayres,T.(Director).(2007).The home song stories.InE.Madman(Producer).Collingwood,Vic.:MadmanEntertainment.
Banks,I.,&Edwards,J.(Directors).(2012-).Puberty Blues[Television]:Channel10Network.
Beresford,B.(Director).(1981/2003).Puberty Blues.
Brooks,S.(Director).(2004).Japanese story.InA.FilmFinanceCorporation(Producer).MoorePark,N.S.WDistributedbyTwentiethCenturyFoxHomeEntertainmentSouthPacific.
Chan,K.(2008).Quarrel.InA.Pung(Ed.),Growing up Asian in Australia.Melbourne:BlackInc.
Chou,B.-W.(2008).TheYearoftheRooster.InA.Pung(Ed.),Growing up Asian in Australia.Melbourne:BlackInc.
Dechian,S.(2005).No place like home: Australian stories.KentTown:WakefieldPress.
Do,A.(2010).Happiest Refugee: A Memoir.CrowsNest:Allen&Unwin.
Goldman,P.(Director).(2002).Australian Rules:Palace.
Gwynne,P.(1998).Deadly, Unna?Ringwood:Penguin.
Gwynne,P.(2000).Nukkin Ya.Ringwood:Penguin.
Keneally,T.,&Scott,R.(2007).Another country: writers in detention(2nded.).Broadway,N.S.W:SydneyPen&HalsteadPress.
Law,B.(2008).Tourism.InA.Pung(Ed.),Growing up Asian in Australia(pp.ix,351p.:).Melbourne:BlackInc.
Law,C.(Director).(2000).The Goddess of 1967.Australia.
Law,C.(Director).(2004).Letters to Ali.Australia:LunarFilms.
Li,C.(2008).Mao’s last dancer.NewYork:Walker&Co.
Ling,C.(2001).Plantings in a new land: Stories of survival, endurance and emancipation.Brisbane:SocietyofchineseAustralianAcademicsofQueensland.
Lucas,R.(Director).(2004).Bondi Tsunami.InBurlesque(Producer).Sydney.
Manning,J.(Director).(2000).Delivery Day.InSBS(Producer),Hybrid Life.Australia:SBS.
MinisterialCouncilforEducationEarlyChildhoodDevelopmentandYouthAffairs,MCEECDYA.(2008).Melbourne Declaration on Educational Goals for Young Australians.Melbourne:MCCEECDYA
Mordaunt,K.(Director).(2006).Jammin’ in the Middle E.InE.Murray(Producer):AustralianFilmCommission.
Pung,A.(2006).Unpolished gem.Melbourne:BlackInc.
Pung,A.(2008).Growing up Asian in Australia.Melbourne:BlackInc.
Salama,S.(Director).(2002).A wedding in Ramallah.InA.B.Corporation&A.f.Commission(Producer).Australia:HabibiFilms.
Smith,B.(Singer-songwriter).(2010).Mao’sLastDancer-PressKit.On:StarPR.Retrievedfrom:http://www.metropolefilms.com/data/ftp/Maos%20Last%20Dancer/PK_Mao%27s%20last%20dancer_Metro_Eng.pdf
Valentine,A.(2010).TheModestAussieCozzie.InA.Valentine(Ed.),Short Plays: Syllabus Stories.Redfern:SnowyOwlPress.
Yahp,B.(1996).Nothing interesting about Cross Street: a collection of girls’ voices.Pymble,N.S.W:Angus&Robertson
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School name Unit title Duration of unit
HartfieldStateHighSchool ClassicWorldLiterature Thissection–5weeks(atthebeginningofa9weekunit)
yEAr 10 UNiT OVErViEW: ClASSiC WOrld liTErATUrE
laura Pegg
Unit outlineStudentscriticallyviewandreadWilliamShakespeare’sMuchAdoAboutNothinginordertostageamultimodalperformanceofascene,actfromtheplay.
Studentsdevelopanunderstandingof:
• HowtheEnglishlanguagehasevolvedandiscontinuingtoevolve
• ThestructureandpurposeofShakespeareancomedy
• Howtheuseofliterarydevicescanbeusedtoconveymeaningandaffectemotion
• Howmodulativeandperformativedevicescanbringaperformancetolifeonthestage
Inquiryquestionsfortheunit:
• WhowasShakespeareandwhyarehisplaysstillconsideredrelevanttoday?
• HowdidShakespeareutiliseliteracydevicestoconveymeaningandaffectreader/audienceemotion?
• WhatarethekeythemesofMuchAdoAboutNothingandwhatdoesthissayabouttheElizabethancultureofthetime?
WhataremodulativeandperformativedevicesandhowcantheybeutilisedinordertobringaShakespeareanperformancetolifeonthestage?
rationaleThisunitplanisdesignedaroundseveralunderlyingtheoreticalandpedagogicalunderstandings.Thefirstofthese,isthenotionthatalllearningandknowingneedstobefirmlygroundedinstudents’everydayexperience
(Kalantzis&Cope,2000);thus,learningmustberelevanttoyoungpeopleanddrawexplicitlyontheirexperiencesofdailyliving(Kennedy,2008).Further,wherepossible,popularculturehasbeenincorporatedintolessonstopositivelymotivateandengagestudentswiththecontent(Beavis,2012).Inordertomakethisconnectionbetweenthetextandlivedexperiences,theunitintegratesthecultural-critical-operationalcomponentsofthe3Dliteracymodel(Durrant&Green,2000;Green,2002).Secondly,theunitacknowledgesthatreadingisasocially,culturallyandhistoricallylocatedpractice(Rennie&Patterson,2010)and,asaresult,smallgrouptalkisutilisedasameansofextendingthecapacitiesofstudentsbyengagingtheminpurposefultalkingandlisteninginordertomediate,reflectupon,articulate,investwithmeaningandunderstandhumanexperience(Manuel,2009),basedonteacherandstudentvoices(Baxter,2009).Thirdly,theunitconcurswiththevisionofthe‘activeShakespeare’classroom(Coles,2009);wherepossiblestudentswill‘doShakespeareontheirfeet’(Coles,2009),whilecompletingtheirreadingandcomprehensionactivitiesintheirreadinggroups.Theunitisdesignedtobeassocialandcollaborativeaspossible.
TheunitSAT(amultimodalperformancetask)isbasedonthenotionthatShakespeareanplaysarealreadymultimodalperformancetexts,andrecognitionofthisfactisthekeytosuccessfulengagement(Beavis,2008).Further,itisthroughthecreativeprocessoftheatre,theperformativeactofcommunionwithanaudience,thatstudentscanfindrelevanceandanalyticalengagementwithlanguage;acollaborativeperformancetasksituatesandfacilitateslearningwithlanguageandtextsthroughanexperiencein
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the‘socialworld’(Jefferson,2009).TheSATwillbeassessedaccordingtoAC:EV3achievementlevelandLSDA’sdesigned.Assessmentmustbearesponsive,developmentalprocessintegrallylinkedintotheteachingandlearningcycle(Meiers,2009);asaresult,theunitwillgraduallydevelopstudentproficiencybothwiththeplayandwiththeperformanceskillsrequiredtocompletethefinalmultimodalperformanceSAT.Toassistinthedevelopmentofthisproficiency,anexplicitformofteacherpedagogywillbeimplementedatalltimesthroughouttheunit,valuingamoregenuinelystudent-centredapproachthatmovestowardcatering,moreequitably,tothediversityoflearnerspresentintheclassroom(MyRead,2002b).Inherentinthispedagogicalapproachisthenotionthatthe
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talkinlessonsshapesclassroomlearningandthelearningcontext,andsimultaneouslyisshapedbyknowledgeofthelearner;explicitteachingbuildsontowhatisknown(MyRead,2002b).EALandLBOTEstudentswillbescaffoldedintheirlearningthroughthislessontalk.Fundamentaltothisscaffoldingisthenotionthatwedonotacquirelanguagealone;rather,itisdevelopedthroughinteractionswithsupportiveothers(Vale,2009).Finally,theStudentActivityandReflectionJournalisdesignedasascaffoldforstudentsduringthereadingandcomprehensionprocessandasareflectiontoolwhenstudentsaremakingperformancedecisions;itwillalsobeutilisedasaformofformativeassessment,wherebytheteachercanmonitorstudentreadingandcomprehension.
identify Curriculum
Language Literature LiteracyGeneral capabilities and Cross-Curriculum priorities
Languageforinteraction
UnderstandthatStandardAustralianEnglishinitsspokenandwrittenformshasahistoryofevolutionandchangeandcontinuestoevolve(ACELA1563)
Languageforinteraction
Comparethepurposes,textstructuresandlanguagefeaturesoftraditionalandcontemporarytextsindifferentmedia(ACELA1566)
Languageforinteraction
Analyseandevaluatetheeffectivenessofawiderangeofsentenceandclausestructuresasauthorsdesignandcrafttexts(ACELA1569)
Languageandcontext
Compareandevaluatearangeofrepresentationsofindividualsandgroupsindifferenthistorical,socialandculturalcontexts(ACELT1639)
Respondingtoliterature
Analyseandexplainhowtextstructures,languagefeaturesandvisualfeaturesoftextsandthecontextinwhichtextsareexperiencedmayinfluenceaudienceresponse(ACELT1641)
Evaluatethesocial,moralandethicalpositionsrepresentedintexts(ACELT1812)
Examiningliterature
Analyseandevaluatetextstructuresandlanguagefeaturesofliterarytextsandmakerelevantthematicandintertextualconnectionswithothertexts(ACELT1774)
Textsincontext
Analyseandevaluatehowpeople,cultures,places,events,objectsandconceptsarerepresentedintexts,includingmediatexts,throughlanguage,structuraland/orvisualchoices(ACELY1749)
Interactingwithothers
Plan,rehearseanddeliverpresentations,selectingandsequencingappropriatecontentandmultimodalelementstoinfluenceacourseofaction(ACELY1751)
Literacy•reflectingonthe
changingnatureoflanguage
Numeracy•useofgraphic
organiserstoassistcomprehension
Critical and creative thinking•analysingand
interpretingtextstructureandlanguagefeatures
•planningandrehearsingamultimodalperformance
Personal and social capability•workingcollaboratively
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Assessment Make judgments
Spoken/Multimodal–Performance
A3-5minutespoken/multimodalperformanceofascene,actfromMuchAdoAboutNothing,focusingontheuseofmodulativeandperformativespokenandnon-verbaldevices.Thiswillbeperformedtoaliveaudienceduringayear10EnglishShakespeareanperformanceeveningentitledANightattheGlobe.
StudentswillgainacriticalunderstandingoftheplaythroughcollaborativereadinggroupsandtheirStudentActivityandReflectionJournal(thiswillbeutilisedasatoolforformativeassessment).Studentperformancegroupswillalsoconferencewiththeteacherregardingtheirperformanceduringtheformativeprocess.
StudentswilladheretotheSATAssessingyourPerformanceChecklistandpeerassessmentwillbeprovidedtoperformancegroupsduringclassrehearsaltime;studentswillidentifypositivesandsuggestimprovementswherenecessary.
Makingjudgementsincludes:Spoken/MultimodalPerformanceReadandviewarangeofspoken,writtenandmultimodaltexts,identifyingandexplainingvalues,attitudesandassumptionsSelectappropriatetextualevidencetosupportinterpretations,andwithawarenessofwhatisstatedexplicitlyinthetextandwhatisimpliedIdentifyandevaluatestrategiesusedbyspeakerstorespondtoandinfluenceaudienceexpectationsInconstructinglongerspokentextstheylogicallysequenceandorganisecontenttomanagetheflowofinformationandideas,toengageaudiencesandcreateaestheticandemotionalappeal
Teaching and learning
Teaching strategies and learning experiences Resources
Orientating: Lesson 1: Stepping into roleAnticipatory set–IntroductiontotheBard(briefbackgroundofShakespeare).StudentsbrainstormwhattheyalreadyknowaboutShakespearethemanandhiswork.TheseanswersarewrittenontheboardintheformofaKWLChartbyastudentscribeandcopiedintonotebooks.Note:thisKWLChartisleftontheboardandwillbereferredtoattheendofthelesson.
Scenario improvisation–Insmallgroupsstudentsaregivenoneoftwoscenariostobrieflyrehearseandperformfortheclass.EachofthesescenariosisbasedonthethemescontainedwithintheplayMuchAdoAboutNothing.Studentswillconsiderwhetherthesethemesarerelevanttoyoungpeopletodayandtheiranswerswillbediscussedasaclass.
Shake-em-up Shakespeare –StudentsaregivenalistofwordsinventedbyShakespeare.Studentswritethesewordsontoflashcards.Insmallgroups,studentsmimeeachofthesewordsinturnwhiletheothermembersofthegroupguesstheword.Thegroupwiththemostcorrectguesseswins.
Translation–StudentsexamineShakespeare’swordsandtheirmoderndaytranslation.Thesewillbediscussedasaclass.
KWL Chart–ThestudentsreferbacktotheKWLChartbegunatthestartofthelessonandprovideexamplesofnewknowledgetoenterintotheLcolumn,copyingthesesuggestionsintotheirbooks.
SAT introduced–StudentsaretoldthattheirSATforthisunitisaperformancepieceofascene,actfromMuchAdoAboutNothing.ThisperformancewilltakeplaceduringanEveningattheGlobe,andwillbeviewedbyinvitedmembersoftheschoolcommunity.
StudentActivityandReflectionJournal:Lesson1PaperandscissorstocreateFlashCards
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Teaching strategies and learning experiences Resources
Orientating: Lesson 2: Treading the Boards… Introducing the Characters of Much Ado About Nothing
Anticipatory set–Studentsareaskedtoreflectonthetwoscenariostheyimprovisedinthepreviouslessonandsuggestpossiblethemesthatthosescenariosmightrepresent.Thesearelistedontheboard.Studentsarethenaskedtopredicttheplotoftheplaybasedonthesethemesuggestions–thesearesharedwiththeclass.
Much Ado About Nothing, Digital Theatre, 2011–Studentsviewthefirsthalfoftheplay.Whileviewingtheplay,studentscompleteacharactertableandcharacterrelationshiptable.
Discussion–Theteacherdisplaysacopyofeachofthesetablesontheclassroomprojectorandstudentsprovidetheiranswersinordertocompletethetableasaclass.Theanswersarediscussedasaclassastheyareprovided.
Reflection –Studentsareaskedtonamethecharactersoftheplaywithoutreferringtotheiractivityandreflectionjournal
CopyofDigitalTheatre(2011)–MuchAdoAboutNothing
Laptopandclassroomprojector
StudentActivityandReflectionJournal:Lesson2
Orientating: Lesson 3: Treading the Boards… Critiquing Much Ado
Anticipatory set–StudentsareaskedtosummarisetheplotofthefirsthalfofMuchAdoAboutNothingbeforethesecondhalfisviewed.
Much Ado About Nothing, Digital Theatre, 2011–Studentsviewthesecondhalfoftheplay.Whileviewingtheplay,studentsanswerthequestionsregardingspeakingskills.Afterviewingtheplay,studentsrecordtheirreactiontotheplaybycompletingthefollowingappraisaltableintheirEnglishbooks:
Kelly,T.&Caruso,J.(n.d.).Worksheets&Wikispaces:ReferenceBooklet.Retrievedfromhttp://blackboard.qut.edu.au/webapps/portal/frameset.jsp?tab_tab_group_id=_2_1&url=%2Fwebapps%2Fblackboard%2Fexecute%2Flauncher%3Ftype%3DCourse%26id%3D_83016_1%26url%3D
Studentsthencompletethecriticexercise.Studentscancompletequestion9individuallyorinpairs.
Discussion–Studentanswerstotheactivityarediscussedasaclass
CopyofDigitalTheatre(2011)–MuchAdoAboutNothing
Laptopandclassroomprojector
StudentActivityandReflectionJournal:Lesson3
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Teaching strategies and learning experiences Resources
Orientating: Lesson 4: Background to the Bard… The Life and Times of Elizabethan England
Anticipatory set –StudentsbrainstormtheirpriorknowledgeofElizabethanEnglandinathink,pair,shareactivity:
•Howdidpeoplelive?
•Whohadpower?
•Whatdidpeoplewear?
•Howdidpeoplespeak?
The Adventure of English, 2002 –StudentswatchTheAdventureofEnglish:Episode4,introducingthemtoElizabethanEnglandandthestateofthedevelopingEnglishlanguage.Studentsthenrespondasaclasstothefollowingdiscussionquestions:
•WhatweresomeoftheoutsideinfluencesaffectingtheEnglishlanguageduringtheElizabethanperiodinEngland?
•WhydoyouthinkShakespeare’splayshavebeendescribedasthegreatestambassadorsoftheEnglishlanguage?
Background to the Bard–Theinformationcontainedwithinthistextbookisreadaloudbymembersoftheclass.Theaccompanyingactivitiesarethencompletedindividuallyorinpairs.Answersarethensharedwiththeclass.
Shakespeare’s Theatre: The Globe–StudentswatchtheYouTubeclip,Shakespeare’sGlobe2012SeasonTrailer,introducingthemtothearchitectureoftheGlobeTheatreandtheperformancesthattakeplacethere.Theinformationcontainedwithinthetextbookisthenreadaloudbymembersoftheclass.Theaccompanyingactivitiesarecompletedindividuallyorinpairs.Answersarethensharedwiththeclass.
Laptopandclassroomprojector
OnlineDocumentary:TheAdventureofEnglish,2002
http://video.google.com/videoplay?docid=-7303339925719040801
ViewingTime:31:43–50:29
StudentActivityandReflectionJournal:Lesson4
YouTubeClip:Shakespeare’sGlobe2012SeasonTrailerhttp://www.youtube.com/watch?v=MccR015JugE
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Teaching strategies and learning experiences Resources
Orientating: Lesson 5: Taking a Walk on the Comic Side
Anticipatory set–Studentsbrainstormthecommonelementsofthecomedygenre–thesearewrittenintheformofaconceptmapontheboardbyastudentscribe.
Shakespeare’s Comedies –Theinformationcontainedwithinthehandoutisreadaloudbymembersoftheclass.StudentsthenuseavenndiagramtocompareandcontrastthedifferencesbetweentheirownconceptmapofcomedicelementsandthoseattributedtoShakespeare’scomediesthroughathink,pair,shareactivity.
General structure–StudentsreadanddiscussthegeneralstructureofaShakespeareancomedyasaclass.Studentsareasked:
•WhatparallelscanyoudrawbetweenthestructureofShakespeare’scomediesandthestructureofacontemporarymovie/play?
•Studentsareaskedtonamethe‘good’and‘bad’charactersinMuchAdo.
•Studentsareaskedtopinpointthe‘win’attheconclusionofMuchAdo.
Comic Characters–Insmallgroups,studentsreadandcompletethecomiccharactersactivity.Answersarediscussedasaclass.StudentsareaskedtolistanyShakespeareancomiccharactersthattheyknow(otherthanthoseinMuchAdo).
What’s in a Name?–Theinformationcontainedwithinthehandoutisreadaloudbymembersoftheclass.Studentsanswertheaccompanyingquestionindividually.Theseindividualanswersarethendiscussedasaclass.
Strolling Through Messina–Insmallgroups,studentsreadthroughtheinformationcontainedwithinthehandoutandanswertheaccompanyingquestions.Thesearethensharedanddiscussedwiththeclass.
StudentActivityandReflectionJournal:Lesson5
Enhancing: Lesson 6: The First Step: Reading Much Ado
Anticipatory set –Studentsareaskedtobrieflyreflect,asaclass,onwhattheyhavelearnedsofaraboutthecharacterswholiveinMessina.
Much Ado About Nothing: The Condensed Story–Theinformationcontainedwithinthehandoutisreadaloudbymembersoftheclass.Inpairs,studentsrefertotheirgeneralstructurehandoutinordertoidentifytheactsoftheplay.Studentanswersarecomparedasaclass.
Reading groups–Intheirassignedreadinggroupsof3-4,studentsreadAct1,Scene1;Act1,Scene2;Act1,Scene3andansweraccompanyingquestions.
Formative Assessment –Studentactivityandreflectionjournalsarecollectedandstudentanswersassessed.
StudentActivityandReflectionJournal:Lesson6
ClasssetofMuchAdoAboutNothing
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Teaching strategies and learning experiences Resources
Enhancing: Lesson 7: Shakespeare in Sneakers: Language Devices Through Hip-Hop
Anticipatory set–StudentswatchYouTubeclipAkala–Shakespeareasanintroductiontothemodernhip-hoptakeonShakespeare’swork.
Hip-HopandShakespeare?–StudentsviewtheYouTubeclipHip-HopandShakespeare?andanswertheaccompanyingquestions.Studentssharetheiranswersandcommentsregardingtheclipwiththeclass.
PoeticDevices–StudentsworkthroughthePoeticDevicessectionofthetextbookasaclass.TheythenusethisinformationwhilereadingAct2,Scene1tocompletethepoeticdevicestable.Studentsreadandworkwithintheirreadinggroups.Studentsthencompletetheaccompanyingscenecomprehensionquestions.
StudentActivityandReflectionJournal:Lesson7
Laptopandclassroomprojector
YouTubeClips:Akala–Shakespearehttp://www.youtube.com/watch?v=Gme1YN-qZV8&feature=related
Hip-HopandShakespeare?http://www.youtube.com/watch?v=DSbtkLA3GrY
Enhancing: Lesson 8: Traipsing Through Poetry and Song in Much Ado
Anticipatory set–StudentsviewDavidTennantandCatherineTate’scomedicspoofofSonnet130
Sonnet 116–Intheirreadinggroups,studentscompletetheSonnet116handout.StudentsthenviewthethreeYouTubeclips,displayingvaryinginterpretationsoftheSonnetinperformance.
Reading groups–StudentsreadAct2,Scene3intheirreadinggroupsandcompletethecomprehensionquestions.Whilereading,studentsviewaYouTubeClipofBalthasar’sSongfromthe1993filmversionofMuchAdoAboutNothing.
YouTube Clips:Sonnet130–http://www.youtube.com/watch?v=WxB1gB6K-2ASonnet116onUkulele–http://www.youtube.com/watch?v=LWmzm8-Z_k0&feature=relatedSonnet116inperformance–http://www.youtube.com/watch?v=l2dJBSfm1P4&feature=relatedSonnet116whileplayingpool–http://www.youtube.com/watch?v=ZADPHWdIaP4
StudentActivityandReflectionJournal:Lesson8
Laptopandprojector
Balthasar’sSonghttp://www.youtube.com/watch?v=gMX0fxUZEwU
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Teaching strategies and learning experiences Resources
Enhancing: Lesson 9: Tripping Up: Malapropisms and Insults
Reading groups –Intheirreadinggroups,studentsreadAct3,Scene1;Act3,Scene2andanswertheaccompanyingcomprehensionquestions.
Malapropisms –Theinformationcontainedwithinthehandoutisreadaloudbyamemberoftheclass.StudentsthencompletethemalapropismtablewhilereadingAct3,Scene3withintheirreadinggroups.
Insulting Shakespeare–Theinformationcontainedwithinthehandoutisreadaloudbyamemberoftheclass.TheTedEdClip,InsultsbyShakespeareisviewedasaclassandthecorrespondingonlinequestionsarecompletedasaclass.Studentsthencompletethecomprehensionactivityindividuallyorinpairs.Studentanswersarethendiscussedasaclass.
StudentActivityandReflectionJournal:Lesson9
Laptopandprojector
TedEdClip:InsultsbyShakespearehttp://ed.ted.com/lessons/insults-by-shakespeare
Enhancing: Lesson 10: Walking Down the Aisle: Themes of Love and Marriage in Much Ado
Anticipatory set–StudentsareaskedtoreviewthethemesofMuchAdothattheyhavediscoveredthroughtheirreadingandviewingoftheplay.
Reading groups–Intheirreadinggroups,studentsreadAct3,Scenes4and5witheachstudentreadingasadifferentcharacter.TheintroductioninformationforAct4,Scene1isthenreadaloudbyamemberoftheclass.StudentsthenreadAct4,Scene1(uptoIV.1.254)intheirreadinggroups.
Class debate –Withintheirreadinggroups,studentsdebatethestimulusquestionswiththerestoftheclass.Studentsmustjustifytheirresponsesusingexamplesfromtheplay.
The power of gossip–Withintheirreadinggroups,studentsanswerthestimulusquestionsaddressingHero’ssituationandmoderndaygossipmagazines.
Magazine covers–Withintheirsmallgroups,studentscreateamagazinecoverdepictingHero’ssituation.Eachgroupwillpresenttheirmagazinecovertotheclassandpersuadetheirclassmatestoreadtheirarticle.Theclassvoteforthemostpersuasivepresentation/coverstory.
StudentActivityandReflectionJournal:Lesson10
Magazinecoversactivity:•Cardboard•Colouredpens•Scissors•Glue•Magazinestobecutup
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Teaching strategies and learning experiences Resources
Enhancing: Lesson 11: In Each others Shoes: Beatrice and Benedick
Anticipatory set–StudentsbrainstormthecharacterqualitiesofBeatriceandBenedick.Studentanswersarewrittenontheboardbyastudentscribe.Theinformationonthehandoutisthenreadaloudbyaclassmember.
Reading groups–Withintheirreadinggroups,studentsreadAct4,Scene1(Part2)andcompletethegraphicnovelactivity.StudentsthenreadtheinformationregardingBeatriceandBenedick’sattitudetosocietyandcompletethescenecomprehensionquestion.
Reader’s theatre–FourstudentvolunteerswillberequiredtoperformAct4,Scene2asareader’stheatrepiecefortheclass.Theclasswillfollowthesceneintheirbooksasthestudentsperform.Studentsthenanswerthescenecomprehensionquestion.
StudentActivityandReflectionJournal:Lesson11
Enhancing: Lesson 12: Treading Lightly: Negotiating Revenge
Anticipatory set–Studentsareaskedtodefinerevenge–thesedefinitionsarewrittenontheboardintheformofaconceptmap.Studentsareaskedtoprovideexamplesofrevengeplotsinpopularmovies/novels.
Reading groups–Withintheirgroups,studentsreadAct5,Scene1,2and3,andanswerthescenecomprehensionquestions.
A way with words–Withintheirreadinggroupsstudentscompletethewaywithwordsactivity.Eachgroup’sanswersarethendiscussedasaclass
StudentActivityandReflectionJournal:Lesson12
Enhancing: Lesson 13: The End of the Road
Reading groups–Withintheirreadinggroups,studentsreadAct5,Scene4andanswerthescenecomprehensionquestions.StudentsmustreferbacktotheirShakespeare’sComedieshandouttocompletesomequestions.
Character plots–EachgroupfocusesonanindividualcharacterandarrangestheirexperiencesthroughoutMuchAdoastheyoccurintheplot.
Character relationship map–Eachgroupreferstotheircharactertableandgridcompletedinlesson1inordertocreateacharacterrelationshipmapfortheirfocuscharacter.
Shakesbook –Studentscreatea‘Shakesbook’profilepagefortheirfocuscharacter.
Class presentation–Eachgrouppresentstheircharacterplot,characterrelationshipmapand‘Shakesbook’profilepagetotheclass
StudentActivityandReflectionJournal:Lesson13
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Teaching strategies and learning experiences Resources
Synthesising: Lesson 14: Introduction to SAT, A Night at the Globe
Studentstohaveperformancegroupsandscenes,actsfinalisedbytheendofthislesson.
Anticipatory set–SATtasksheetsaredistributedtostudentsandthetaskandassessmentexpectationsarediscussed.
Modulative devices –StudentsreadthroughtheEffectiveSpeakingStrategiesHandout(seeappendix)asaclassanddiscussandmakeperformancesuggestionsforeachdotpoint.
Hot seat role play–Usingthisunderstandingofmodulativedevices,studentstaketurnstositinthe‘hotseat’(Williams,2009)andanswerclassquestionsinrole.Studentsaregivenacharacterwhentheysitinthe‘hotseat’andclassquestionsmustbespecifictothatcharacterandtheirexperiencesintheplay.Classdiscusstheuseofmodulativedevicesandtheiraffectinansweringthesequestions.
Performance groups and scenes, acts–Studentssplitintosmallgroupsof2,3or4(dependingonthescenetheywishtoperform)andselectthescene,acttheywillbeperforming.Theteacherwillensurethatthesegroupingsaresuitableforthetaskandwillmakechangesifrequired.
Homework–Studentstolearnlinesfortheirscene,act.
EffectiveSpeakingStrategiesHandout
Synthesising: Lesson 15: Rehearsal
Anticipatory set – StudentsviewtwoclipsfromBBCActingExercises.Afterviewingtheclips,studentswilldiscussthetoolsandexercisestheactorsdemonstrateandmakesuggestionsastohowtheseexerciseswillassisttheminperformingtheirownscene,act.
Rehearsal –Intheirperformancegroups,studentsrehearsetheirscene,incorporatingthetoolstheyhavelearnedaboutintheclips.
Introduction to annotation –Asaclass,studentsreadthroughtheWhatisAnnotation?Handout(seeappendix).Withintheirperformancegroups,studentsannotatetheirownscripts,focusingonstaging/blockingofperformance,props,characterisation,musicandlighting.
Homework – Studentcontinuetolearntheirlinesfortheirscene,act.
BBCActingexercisesclips:
OnetoTen–Professionalactorsdemonstrateanexercisetohelpwithactingoutemotions,fromtheverymildesttothemostintense.
EveryWordCounts–ThisexerciselooksatthemanydifferentwaystodeliverlineswhenperformingShakespeare.http://www.bbc.co.uk/drama/shakespeare/60secondshakespeare/acting_videos.shtml
WhatisAnnotation?Handout
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Teaching strategies and learning experiences Resources
Synthesising: Lesson 16: Rehearsal
Anticipatory set –“Thereare50waystosaying‘Yes’,andfivehundredwaysofsaying‘No’butonlyonewayofwritingthemdown.”–GeorgeBernardShaw.Studentsreviewtheirknowledgeofmodulativelanguagebytestingthistheory.Inpairsstudentswillutilise:•Rhythm•Emphasis•Stress•Tone/colour•Volume•Intonation/inflection•Pitch,pace,pause•Phrasing/parenthesisTheteacherwillcalloutoneofthesemodulativedevicesatatimeandeachpairwilltaketurnstoexperimentwiththem.Formative assessment–Performancegroupsconferencewithteacher.Studentspresenttheirannotatedscriptstotheteacheranddiscusstheiruseofmodulativedevices.Teacherassesseseachgroup’sprogressusingtheAssessingyourPerformanceChecklistontheSATtasksheet.Rehearsal–Intheirperformancegroups,studentscontinuetorehearsetheirscene.Homework –Studentcontinuetolearntheirlinesfortheirscene,act.
Synthesising: Lesson 17: Rehearsal
Rehearsal–Intheirperformancegroups,studentscontinuetorehearsetheirscene.
Peer performance –Eachgroupperformtheirscene,actfortheclass.Studentsprovideconstructive,appropriatefeedbackintheformofaPMIchart–thiswillbewrittenontheboard.
Homework–Studentcontinuetolearntheirlinesfortheirscene,act.
Synthesising: Lesson 18: Rehearsal
Dress rehearsal–Intheirperformancegroups,studentscompleteadressrehearsalofeachoftheirscene,acts.Reflection–Afterthedressrehearsalhasbeencompleted,studentsreflectontheirgroup’sperformance:•Whatwentwell?•Whatdidn’tgowell?•Whatcouldbeimprovedandhow?•Whatneedstobeaddressedbeforethefinalperformance?Performance night information–Theteacherrunsstudentsthroughtheperformanceeveningprogramandwhatisexpectedofthemduringtheevening.
Eachperformancegroup:•Costumes•Props•Script
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Synthesising: Lesson 19: Performance Reflection
Studentperformancereflection–Asaclass,studentsdiscusstheperformanceevening:•Whatwentwell?•Whatdidn’tgowell?•HowdidtheyfeelperformingShakespeareforanaudience?
Studentwrittentextreflection–StudentswriteareflectionbasedontheirreadingandperformanceofthetextMuchAdoAboutNothing:•HowdidtheyfeelreadingMuchAdo?•Howdidtheyrespondtothekeythemesandcharacterswithinthetext?•HowwouldtheydescribetheexperienceofperformingShakespeareforanaudience?•Whattheylikedaboutthelessonprogram?•Whattheydidn’tlikeaboutthelessonprogram?•Howcouldthelessonprogrambeimproved?
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Unit feedback
Waystomonitorlearningandassessment
Year10Teachers:•meettocollaborativelyplantheteaching,learningandassessmenttomeettheneedsofalllearnersineachunit.•createopportunitiesfordiscussionaboutlevelsofachievementtodevelopsharedunderstandings•crossmarkperformancestoensureconsistencyofjudgments;andparticipateinmoderatingsamplesofstudentworkatschoolorclusterleveltoreachconsensusandconsistency.
Curriculumleaders:•randomlysamplestudentworktocheckforconsistencyofteacherjudgments.
Feedbacktostudents Teachers:
•planopportunitiesandwaystoprovideongoingfeedback(bothwrittenandinformal)andencouragementtochildren/studentsontheirstrengthsandareasforimprovement.•reflectonandreviewlearningopportunitiestoincorporatespecificlearningexperiencesandprovidemultipleopportunitiesforchildrentoexperience,practiseandimprove.
Students:•reflectonanddiscusswiththeirteachersorpeerswhattheycandowellandwhattheyneedtoimprove.
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Reflectionontheunitplan
Attheconclusionoftheunit,teacherswillcollaborativelyaddressthefollowing:
•activitiesthatworkedwellandwhy?
•activitiesthatcouldbeimprovedandhow?
•assessmentthatworkedwellandwhy?
•assessmentthatcouldbeimprovedandhow?
•commonstudentmisconceptionsthatneed,orneeded,tobeclarified?
referencesBaxter,D.(2009).SmallGroupWork.InS.Gannon,
M.Howie&W.Sawyer(Eds.),ChargedwithMeaning:ReviewingEnglish(3rded.).(pp.197–203).Putney,NSW:PhoenixEducation.
Beavis,C.(2008).PayingAttentiontoTexts:Literacy,CultureandCurriculum.EnglishinAustralia,43(1),23–31.Retrievedfromhttp://search.informit.com.au.ezp01.library.qut.edu.au/fullText;dn=236203897663232;res=IELHSS
Beavis,C.(2012).VideoGamesintheClassroom:DevelopingDigitalLiteracies.PracticallyPrimary,17(1)17–20.
Coles,J.(2009).TestingShakespearetotheLimit:TeachingMacbethinaYear9Classroom.EnglishinEducation,43,32-49.doi:10.1111/j.1754–8845.2009.01028.x
Durrant,C.&Green,B.(2000).LiteracyandthenewTechnologiesinSchoolEducation:Meetingthel(IT)eracyChallenge.AustralianJournalofLanguageandLiteracy,23(2),89–108.Retrievedfromhttp://search.informit.com.au.ezp01.library.qut.edu.au/fullText;dn=101584;res=AEIPT
Green,B.(2002).Aliteracyprojectofourown?EnglishinAustralia,134(?),25–32.Retrievedfromhttp://search.informit.com.au.ezp01.library.qut.edu.au/fullText;dn=122774;res=AEIPT
Jefferson,M.(2009).RichPerformanceTasks:Re-imaginingMultimediaDramaintheEnglishClassroom.InJ.Manueletal(Eds.),Imagination,Innovation,Creativity:RevisioningEnglishinEducation(3rded.)(pp.145–157).RetrievedfromQueenslandUniversityofTechnologyCourseMaterialsDatabase.
Jetnikoff,Anita(2007)Accessingthecriticalthroughdrama.Words’Worth,40(4),27–35.Retrievedfromhttp://eprints.qut.edu.au/28422/
Kalantzis,M.&Cope,B.(2000).AMultiliteraciesPedagogy:APedagogicalSupplement.InB.Cope&M.Kalantzis(Eds.),Multiliteracies:LiteracyLearningandtheDesignofSocialFutures(pp.239–248).London,UK:Routledge.
Kennedy,K.(2008).TheoreticalPerspectivesforUnderstandingStudiesofSocietyandEnvironment.InC.Marsh(Ed.),StudiesofSocietyandEnvironment:ExploringtheTeachingPossibilities(5thed.)(pp.2–18).FrenchsForest,NSW:PearsonEducationAustralia.
Manuel,J.(2009).TalkingandListeningforLearninginEnglish.InS.Gannon,M.Howie&W.Sawyer(Eds.),ChargedwithMeaning:ReviewingEnglish(3rded.).(pp.185–196).Putney,NSW:PhoenixEducation.
Meiers,M.(2009).RespondingtoStudents’AchievementsinEnglish.InS.Gannon,M.Howie&W.Sawyer(Eds.),ChargedwithMeaning:ReviewingEnglish(3rded.).(pp.321–330).Putney,NSW:PhoenixEducation.
MyRead.(2002a).ClassroomOrganisation.Retrievedfromhttp://www.myread.org/organisation.htm
MyRead.(2002b).ConnectingStudentstoLearningThroughExplicitTeaching.Retrievedfromhttp://www.myread.org/explicit.htm
Rennie,J.&Patterson,A.(2010).YoungAustralianReadinginaDigitalWorld.InD.Cole&D.Pullen(Eds.),MultiliteraciesinMotion(pp.207–223).NewYork,NY:Routledge.
Vale,E.(2009).TeachingSecondaryLanguageLearnersintheSecondaryEnglishClassroom.InS.Gannon,M.Howie&W.Sawyer(Eds.),ChargedwithMeaning:ReviewingEnglish(3rded.).(pp.139-150).Putney,NSW:Phoenix
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hArTfiEld STATE high SChOOl
Year 10: Classic World Literature – Multimodal Performance of Much Ado About Nothing
Teacher: Class: Student:
A Night at the GlobeTask Context: YouhavereadandviewedWilliamShakespeare’sMuch Ado About Nothing.Shakespeare’swordswerewrittenforthestageandyouwillnowbebringingthemtolifefortheschoolcommunitybyperforminganActfromtheplay.
Performance context:Eveningperformancefortheschoolcommunity
Text type:Spoken/MultimodalPerformance
Duration:3-5minutes
Register
Purpose:ToentertainandmakemeaningofaShakespeareantext
Mode:Spokenandvisualperformanceofawrittentext
Roles and relationships:Studentinroleofcharactertoentertainaudience
Medium:Performanceofacomedicscene
Subject matter:PerformanceofascenefromMuch Ado About Nothing
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Assessing your performance checklist
Teacher Individual Peer
Planning and thinking
•Playwasread/viewedandreflectedupon
•Characterswerecriticallyanalysed
•Themeswereaccuratelyexplored
•Performancegroupswereselected
•Scene,Actselected
Drafting
•Assignedroles
•Performancecontext
•Linesarelearned
•Scriptsareannotatedfor:staging/blockingofperformance,props,characterisation,musicandlighting
•Costuming
Spoken/Signed features: When delivering your lines, consider the following Modulative Devices:
•Rhythm
•Emphasis
•Stress
•Tone/colour
•Volume
•Intonation/inflection
•Pitch,pace,pause
•Phrasing/parenthesis
Non-verbal features:
•Facialexpressions
•Gestures
•Proximity
•Stance
•Movement
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Examples of Unit Work
Lesson 1: Stepping into RoleScenario Improvisation
• Divideintogroupsoffourorfive.Eachgroupwillbecalledtothefrontoftheroomandaskedtoimproviseoneofthefollowingscenarios:
Scenario 1:Twopeopleoftheoppositesex,AandB,dislikeoneanotherandareconstantlybickering.Showthemtauntingoneanother,thenhaveBleave.Somefriendsenter.HavethefriendsconvinceAthatBisreallyattractedtoA.DealwiththematterofwhetherAbelievesthemandwhyhe(orshe)would.
Scenario 2:Adifferentcouple,XandY,areverymuchinlove.Createascenarioshowingtheiraffectionforoneanother.HaveXleaveandfriendsenter.ThefriendshavetodosomethingtocauseYtowanttobreakupwithX.Resource adapted from:FolgerShakespeareLibrary.(2002).EducationDepartmentCurriculumGuidetoMuchAdo.Retrievedfromhttp://pages.simonandschuster.com/images/ckfinder/26/pdfs/Folger%20Curriculum%20Guides/MuchAdoAboutNothing.pdf
• NowchangethenamesofA,B,XandYtothefollowing:A:BeatriceB:BenedickX:HeroY:Claudio
ThesearethemaincharactersinShakespeare’splayMuch Ado About Nothing.Withintheplay,thesecharactersfacethesamescenariosasoutlinedabove.
• Doyouthinkthescenariosabovearerelevanttoyoungpeopletoday?Why/whynot?
Lesson 7: Shakespeare in Sneakers: Language Devices through Hip-hop Shakespeare’slanguageisthelanguageofpoetry.Hewrotethreetimesasmanylinesofpoetryasprose,soheusesalotofpoeticdevices.Oftenaverylongspeechcanbedistilledintonotmuchaction,butitconnectswithusmoredeeplythroughtheuseofpoeticdevices.
• ViewtheTedxclipHip-Hop and Shakespeare? andanswerthefollowingquestions:
• Whataresomeoftheparallelsbetweenhip-hopandShakespeare?
• WhatdoesAkalacomparetheIambicPentameterto?
• Howdoestherhythmhelpusunderstandwhatisbeingsaid?
• WhatpowerdoesbothShakespeareandHip-Hopcarry?
Lesson 9: Tripping Up: Malapropisms and InsultsInsulting Shakespeare
BytakingacloserlookatShakespeare’swords-specificallyhisinsults-weseewhyheisknownasamasterplaywrightwhoseworkstranscendtimeandappealtoaudiencesallovertheworld.
• ViewtheTedEdClipInsultsbyShakespearethenanswertheaccompanyingQuickQuizquestions,discussingeachanswerasaclass.
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InMuch Ado About Nothing,BeatriceisequalinwittoBenedick,thereisakindof‘merrywar’betweenthem.
Lesson 10: Walking Down the Aisle: Themes of Love and Marriage in Much AdoAct 3, Scene 4 and Act 3, Scene 5
Insmallgroupsofthreeorfour,readthroughAct3,Scenes4and5,witheachmemberreadingasacharacter.InthesescenesHeroispreparingforherweddingtoClaudio,whileDogberrybelieveshehasapprehended‘twoauspiciouspersons’.
Act 4, Scene 1 (Part 1)
ItiswithinthisscenethatClaudiopublicallyaccusesHeroofbeingunfaithfultohimwhiletheyarestoodatthealtar(IV.1.29-41).
IntheRenaissance,thevirginityofanupper-classwomanatthetimeofhermarriagecarriedagreatdealofimportancefornotonlyherownreputationbutalsoforthatofherfamilyandherprospectivehusband.Adultery,unchastebehaviour,orpremaritalsexinanoblewomancouldbeafightingmatter—onethatcouldspuraparenttodisownorevenkilladaughter,abetrayedhusbandtomurderhiswifeorrival,oradefendertochallengeawoman’saccusertoadueltothedeathinordertoclearhername.IftheentirecommunityweretobelieveHerounchaste,thenherhonour,name,andreputationwouldsufferpermanently;Claudiowouldsufferconsiderablymorethansimplevexation;andthestressmightwell“kill”Leonato.Thisplotisfarmorethanamerelytroublesomegame.SparkNotes.(2012).MuchAdoAboutNothing:ActII,Scene3.Retrievedfromhttp://www.sparknotes.com/shakespeare/muchado/section4.rhtml
Insmallgroups,readAct4,Scene1uptoIV.1.254.
Withinthesesmallgroups,debatethefollowingquestionswiththerestoftheclass:
• WasHeroafitbride?
• WasClaudiowrongtoaccuseher?
• WasLeonatowrongtoreactinthewaythathedid?
• Whydoyouthinkhereactedthisway?
• WhydidBeatricebecomesoupset?
• Whatwastheroleofthefriar?
Beatrice: Ihadratherhearmydogbarkata crowthanamanswearhelovesme.
Benedick: Godkeepyourladyshipstillinthat mind!Sosomegentlemanorother shallscapeapredestinatescartch’d face.
Beatrice: Scratchingcouldnotmakeitworse, an‘tweresuchafaceasyourswere.
(ActI,SceneI)
• Identifytheinsult(s)inBenedick’sandBeatrice’sexchange.
• Locateanotherinterchangebetweencharactersintheplayinwhichwittyinsultsareexchanged.
Resource adapted from: Pearson (2012). English Teachers Companion: 9. Port Melbourne, VIC: Pearson Australia.
• Identifytheinsult(s)withinthisexchange.
• Writeasix-lineargumentbetweenBeatriceandBenedickusingmodern-dayinsults.Remembertokeepitplayfulandfun–itshouldbeclearthatthesecharactersactuallylikeeachother:
Resource adapted from: California Shakespeare Theatre. (2010). Much Ado About Nothing: Teachers Guide. Retrieved from http://www.calshakes.org/v4/educ/pdf/TeachersGuide_MuchAdoAboutNothing_2010.pdf
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• DoyouthinkthathidingHerowasagoodsolutiontotheproblem?
Resource adapted from:FolgerShakespeareLibrary.(2002).EducationDepartmentCurriculumGuidetoMuchAdo.Retrievedfromhttp://pages.simonandschuster.com/images/ckfinder/26/pdfs/Folger%20Curriculum%20Guides/MuchAdoAboutNothing.pdf
Heroiscaughtinaseeminglyimpossiblesituation:knowingthetruthwithnooneelsebelievingit.
• Whydowordshavesomuchpowerwhenusedagainstsomeone?
• Thinkaboutcelebritygossipmagazineandwebsites.Howdothewriterschoosetheirheadlinesinordertogetyoutoreadtheirstory?Doyoubelievethearticlesinthesepublications?Whyorwhynot?
Resource adapted from: CaliforniaShakespeareTheatre.(2010).MuchAdoAboutNothing:TeachersGuide.Retrievedfromhttp://www.calshakes.org/v4/educ/pdf/TeachersGuide_MuchAdoAboutNothing_2010.pdf
• Insmallgroups,createamagazinecoverdepictingHero’ssituation.1. Brainstormtheelementsofamagazine
cover2. Decideonanaudienceforyourmagazine
(whowillreadyourmagazine?)3. Selectarelevantimageforyourcover4. Includeinformationaboutthestory
containedinside
YouwillthenpresentyourmagazinecovertotheclassandpersuadeyourclassmatestoreadyourarticleaboutHero.
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The2012LiteraryCompetitionsurpassedallpreviousyears,especiallyintermsofthe
numberofentriesreceived!ThiscompetitionisestablishingitselfasaprestigiousandhighlyvaluedshowcasefortheliterarytalentofstudentsandteachersacrossQueenslandandtheNorthernTerritory.Nowinits53rdyear,theeventattracted705submissionsandwasopentoStateandTerritorystudentsinYears6to12andtheirteachers,frombothgovernmentandnon-governmentschools.Thisisasignificantincreaseoverpreviousyears(2011–458;2010–424;2009–529).
Thequalityoftheentriesreceivedin2012wasalsoexceptionalwithanumberofthejudgeshavingtolabouroverwinners,place-getters
2012 ETAQ/iEUA-QNT/JAmES COOk UNiVErSiTy liTErAry COmPETiTiON rEPOrT
deb Pedenandthehighlycommendedentries.Sincereappreciationandgratitudeisextendedtoourjudgesfortheirtime,commitmentandabilityinmakingsometimesdifficultdecisionsindeterminingprizewinnersandplacegetters.IwouldliketoacknowledgetheamazingworkandsupportofKayHollowayandherteamatIEUA-QNT.SpecialthanksalsotoJamesCookUniversityandRandomHousefortheirgenerousandmuch-appreciatedsponsorshipanddonations.Andfinally,butbynomeansleast,myacknowledgementgoestoallstudentsandteachersfortheirsubmissions.
Congratulationstothewinners,place-gettersandhighly-commendedawardees.Sowelldeserved!
POETry firST PriZE: SECTiON A (yEArS 11 & 12)Judge’s report – ross Clark
Somycallgoesouttoyoungpeopletoreadthisstuffcalledpoetry,readabitandthenabit
moretillyoufindwhatresonatesinyou,thenreadsomemoreofthat,alongwithsomemoreofwhatyoumightnotknowsowellinordertodiscoversomemoreofwhatyoudolike,andthenyouwillcommunewithlanguageandtheworldasnaturallyasbreathing.
Somycallgoesouttoteacherstobringpoetrytotheclassroomwithoutassaultingit;byallmeansreadandinterpretit,butallowsomepoemstojustsimmerawhile;encourageyourstudentstoreadpoemswithouthavingtodoanythingtothemorbecauseofthem;byallmeansusethepoemsasawayintowritingpoems,butletthepoemsuseyoualittle(they’llstillrespectyouinthemorning).
Iaddressedthosewordstolastyear’saudience,andthisyearIreiteratethemwithevenmorevigour.Ihadnoprobleminfindingafinewinningpoemthisyear,but(likelastyear’s
winningcohort)itwasnotingoodcompany…mostoftheentrieswereintensebutnotcrafted;notcraftedbywriterswhocareforwordsandnotjustcauses(asjustasthosecausesmightbe).Don’tgivemethenotesofanessay,shuffledabout;don’tgivemeabstractionsandrhymes;givemeapoem,shorthandoftheemotions.Findsomethingtosay,andthennearlysayit.
ConsiderthisfromArchibaldMacLeish.
Ars Poetica
A poem should be palpable and mute As a globed fruit,
Dumb As old medallions to the thumb,
Silent as the sleeve-worn stone Of casement ledges where the moss has grown –
A poem should be wordless As the flight of birds. *
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A poem should be motionless in time As the moon climbs,
Leaving, as the moon releases Twig by twig the night-entangled trees,
Leaving, as the moon behind the winter leaves, Memory by memory the mind –
A poem should be motionless in time As the moon climbs.
A poem should be equal to: Not true.
For all the history of grief An empty doorway and a maple leaf.
For love The leaning grasses and two lights above the sea -
A poem should not mean But be.
I’mguessingmoststudentshavenotencounteredthispoem,buttheyshouldhave.Andlearnedthecinematicstrategiesinvolvedinwritingaresonantpoem–suggestionandallusionratherthanoutrightstatement.
Isuspectthatmoststudentsaregettingtheirideasofpoetryfromun-moderatedinternetsites,whereeverychildplayerwinsaprize,ratherthanfromthesharpandfeatherypoemsofskilledpractitioners.Soagain,asIcounselledlastyear,Isayreadpoems,thenreadsomemore,andthenevenmore;writesome,editsome,writesomemore,re-edit,throwsomeaway.Findtheminsideyouwhentheyareready.
Ihaveawardedonecommendationandoneprizeinthisyear’scompetition.
Thecommendedpoemis“UnknownRhythm”byKarliIrvine.Thisusesrhymingverseparagraphswithdronerhyme,intensifyingthepaceofitsobservation,itsnon-narration.
This heart, it beats for you, Can you hear it saying one and two?
Itbegins,andlateritdeclares
Hold me close, don’t let me go. I’m safe within your embrace.
WhileI’malittleunsureaboutthebackstoryofthispoem,Iliketheassurednessofitslines,andcommendthispoettocontinueherexperimentation.
Thewinningpoem,“MourningCycle”,byMadeleineStoermer,beginswithagnomicdeclarationthatstructuresthepoem:I am not who I was last June. I am a stranger now.Thefollowingsectionsdeclareforbright Octoberandstorm-torn Januaryandlonely April.ThepoetstandsFeet in water, hands in the sky/ a lightning rod made like a girl,butlaterfindsherselfinthatlonely April.IamremindedthatChaucerbeganhispilgrimageintheAprilofsweet showers,thoughTSEliotfamouslydeclaredthatApril is the cruellest month.
Iamimpressedbythispoet’suseofstructuringdevicesandrepetitionastheautobiographicalsliverdigsfurtherunderourskin.Thisisapoemwithmomentum(gentlebutsure)andsomethingtosuggest,apoemthatinvitesustoparticipateinthedynamicsofitsmeaning-making.
SoIcongratulateMadeleine,andagainremindstudentsandteachersthatnewpoemscomerhizomicallyfromthetopsoilofotherpoems,andfromsongsandstoriesandfilms,butveryrarelyfromtheorisingthemintoexistence.Almostnever.
Readalot,withoutexpectinganythingfromthem,andtheywillgiveyouyourself,andtheworld.
A poem should be wordless As the flight of birds. *A poem should be equal to: Not true. *A poem should not mean But be.
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POETry firST PriZE: SECTiON A (yEArS 11 & 12)mourning Cycle
madeleine Stoermer St Aidan’s Anglican girls School, Corinda
IamnotwhoIwaslastJune.Iamastrangernow.Thatgirlisgone,fadedintomemory,Madeofremembrancesandnostalgichaze.Shediedadeathofherownmaking,Losttothevaleoftime.Andyet,inthesefrostedmorningsIfindacreatureofhabit.Ahintofwhatwas,Afootprintleftbehind.IamnotwhoIwaslastJune.˜IburiedmyselfinbrightOctober.Idugagraveandwept.Imournedmyloss,thebereavementheavyOntheheadofagirltoooldforheryears.Ilaidtorestmyownself,Andstood,alone,facingtheabyss.Ihid,acoward,fromtheendlessturnOfdeathandlife,lifeanddeath.IdidnothearthewhispersastheycalledAstheyspokemynameofold.IburiedmyselfinbrightOctober.˜Instorm-tornJanuaryIstoodalone.Achildnomorebutnotawoman.Istood,asrainpoureddownaroundme,Toosmallagainstthegreenishsky.Feetinwater,handsintheskyAlightningrodmadelikeagirl.TheroarofthunderhidmyvoiceTherhythmofrainwashedmeaway.Iwatchedasmyworldwentby,Icriedasmyoldselfwould.Instorm-tornJanuaryIstoodalone.˜InlonelyAprilIfoundmyself,wrappedlikeaparcel,self-addressed.Ishook,myfingersclumsyasIunravelledLayeruponlayer,apackageofnothing.Myselvesstretchedoutinbothdirections,Acarnivalparade,alldifferentyetthesame.Istaredatmyselffromtheeyesofastranger,Andknewthat,justasIhad,somedayshe’dburyme.Ourgazeslocked,andinthatmoment,Itwasdone.InlonelyAprilIfoundmyself.˜Envoi:SohereIstand,differentbutthesame,Theretheylie,deadbutnotgone
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ShOrT STOry firST PriZE: SECTiON A (yEArS 11 & 12)Judge’s report – Esmé robinson
I’vealwayslovedshortstoriesbecausetheycanbereadandenjoyedinonesitting.
Thisyear’stopicscoveredawidevarietyofthemes,humanemotionsandexperiencesoftensoeffectivelydealtwiththatsometimesIwasmovedtotears.
Interestingly,manyofthestoriesthisyearwerewritteninthefirstpersonandinthepresenttensewhichgavethemasenseofimmediacy.
TheHighlyCommendedshortstoriesinalphabeticalorderofauthorsare:
• White Lie,bySarahKateGooge,WestMoretonAnglicanCollege,Karrabin.
• The Man Next Door,byAbbieKanagarajah,SomervilleHouse,SouthBrisbane
• Leftovers,byPerriNewmanMtStMichael’sCollege,Ashgrove,and
• Strange Meeting,byMikaVaritimosfromIpswichGirls’GrammarSchool.
RyanKiddfromAllSaints’CollegeMerrimac,isawardedthirdprizeforThe Last Leg,adeeplymovingstorysetintheMiddleAges,atimeofsuperstition.Asthewritersays,‘Crippleswereunlucky,itwassaid.Theyandtheirkinwerecursed,ablightupontheland.’Theprotagonistisalamefiddler,whoselifehadbeensparedonlybecause‘itwasunluckytokillacripple.’However,hiswifeanddaughterhadbeenkilledbecauseofhim.Inunbearablegrief,heisforcedtoroam,hislifeeventuallychangingbecauseofachancemeetingwithastraydog.Togethertheymaketheirwayintoatownwherethehomelessfiddlerpourshissoulintohismusictothedelightofthetownspeople.Tragically,onenight,heisattackedbytwomen,hisfiddleisbrokenandthedogmortallywounded.Themangathersupthedogandmakeshiswaytoacliffoutsidethetown.Here,heandhiscompanion‘embracethewind’andarenomore.
A New Sunrise,writtenbyMichaelaMarcusfromStanthorpeStateHighSchool,winssecondprize.Thischarmingstoryofpre-weddingnervesissetoutsidethechurchwheretheweddingisabouttotakeplace.Thebride,Arora,isremindedbyherbridesmaid,Jasmin,oftheirmeetinginhospitalbothagedeight,whenJasminthoughtshewouldneverfaceanothersunrise.ArorodrewonherDreamtimestoryofthefirstsunrisetocomfortJasmin.Intheirplayinthehospitalbed,Jasmin’scrutcheswereusedtoraisetheblanketofftheirheadstoletin‘thefirstsunrise’,echoingAroro’sDreamtimestory.ThereisadelightfultouchattheendofthestoryasJasminpullsAroro’sweddingveiloverboththeirheads,evokingthememoryoftheirchildhoodgame.
Here,itisJasminwhocomfortsAroro,handingherher‘somethingold’,afadedphotographtakenwhentheywerehospital.‘It’stimeforanewsunrise’,thistimeforAroro.
MuirgenO’SeighinfromStRita’sCollege,isthefirstprizewinnerforherstoryFor Less Than Ten Shillings.
Whatatightlyconstructedstorythisis.Cinematically,Muirgensetsthescene-QueenslandintheearlydaysofEuropeanexpansionwhensettlersweretakingovertraditionalAboriginallands.ThefirstpersonnarratorisapolicesergeantwhosejobitistoclearAboriginesfromthesquatters’stations,roundthemupandshootthem.Heisaccompaniedby‘youngJimmy’,amemberoftheNativeMountedPolicewhocomplainsthatheispaidlessthantenshillingsaweekforthejobhedoes.
SergeantO’Neillrecountsthisday’sworkofkillingtwo‘blackfellas’inamatter-of-fact,unemotionalway.TheconclusionIfoundparticularlydisturbing.SergeantO’Neilldoesnotevenburythemen.‘Itwasn’tworthit.The
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dingoesandantswoulddojustasgoodajob.’ThisisjustanotherdayforhimandJimmy.TheonlythinglefttodoistofilehisreporttoSuperintendentWalker.‘Iglancedupattheskyandthenpulledmyfobwatchoutofmypocket.Itwasnearlyoneo’clock.IfIhurriedJimmyalong,wecouldbebackintownintimeforsupper.’Whatachillingconclusion,evenmoresoforitsunderstatement.
Iurgewriterstoproofreadcarefullyasmanyoftheshortstorieswerelitteredwithspellingandpunctuationerrors.Itisnotenoughtorelyonthecomputer’sgrammarandspellchecktools.Simplemisuseofapunctuationmarkora
spellingerrorcanspoiltheeffectofanideaorcreateanunintendedmeaning.
Students,pleasecheckonthepasttenseofverbs.SooftenIhavereadsentencessuchas‘Theboatsunk’,‘Hewaslayingontheground.’Consistencyoftensewasalsoaproblem.Agreementofsubjectandverbmustbechecked.Readingone’sstoryaloudaspartoftheproof-readingprocesscanhelpilluminatesuchinaccuracies.
Thankstoallthestudentswhoenteredthisyear,theirteachersandtheirparentsandcongratulationstoallprizewinners.
for less than Ten Shillingsmuirgen O’Seighin
St Rita’s College, Clayfield
ShOrT STOry firST PriZE: SECTiON A (yEArS 11 & 12)
Campthatdaywasasmallaffair,withonlymeandyoungJimmy.ThetoweringPepperinaprovidedsomerelieffromthebroilingsunandtherewasplentyofgrassforourhorses.WhileJimmystartedupthefireforourbilly,IhobbledthehorsesandropedtheblackfellastothesturdyPepperina.Though,intheircase,Imadesuretherewaslittleslack.Iftheblacksshotthrough,we’dhavebuckleysoftrackingthem.ThatwassomethingIdidn’twanttobeexplainingtoSuperintendentWalker.
We’dcaughttwothatday.Onewasyoungerandahalf-blood.Chanceswerethathisfatherwasthesquatterwhosestationwehadclearedthemfrom.Butthatwasn’tmyproblem.Hehadagashinhislegandthebloodwasmixingwithhissweatandpoolingaroundhisfoot.
Hespoketome,quickly,andinshortnervousbursts.Ididn’tspeakthelocallingo,butIunderstoodhisgesturessoIpassedhimthehorses’waterbag.Hedrankquickly,eyeingmeallthewhile,asifunsurehowlongmygenerositywouldlast.Theolderonestayed
silent.Herefusedthewaterbagwithaslightinclinationofhisheadwhentheyoungeroneofferedit.Hisfacewasweatheredebony,inseparablefromthebrownearthhesquattedin.Hiseyestravelledslowlyfrommybootstocap,acknowledginganddismissingmyuniformwithacrinkleofhiseyes.
‘Billy’snearlyboiled,SergeantO’Neill,’calledJimmy.
Jimmystoodbarefoot,proddingatthefirewithastick.
‘Bootstootight?’Iasked,pointingathisbarefeetasItookupmypannikin.
‘Feelslikemytoeshavebeensharingmybootswithmeat-ants,’hesnorted,swattingatablowflythathadcometoinvestigatehistea.‘Wishthey’dgiveusanewissueofclothes.’
‘Orapay-rise,’Iadded.
‘You’dthinktheNativeMountedPolice,’saidJimmy,‘wouldatleastgettenshillingsaweek.ThegarrisonsoldiersatBrisbanegetthatmuch
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andtheyaren’tatriskofanullanullaorspearoneverybendoftheDawson.’
‘It’sajob,’Isaidwithashrug.‘Itputsfoodinyourgutandaroofoveryourhead,andit’sbetterthantryingtofarmaselectionthatwon’tsurvivethenextdrought.’
Wedranktherestofourteainsilence,withnomoretosayandlessinclinationtosayit.Istoodupandwithaflickofmypannikin,emptiedthetealeaves.‘I’llgotakecareofthosetwo,’Isaidwithawavetowardstheblacks.‘Yousaddlethehorsesanddousethefire.’
Iwalkedovertomyhorseandgrabbedmycoltrevolverfromitsholsteronthesaddle.Iclickedopentherevolverandcheckedthateachchamberwasloaded.Satisfied,Icockedthehammerintothefiringposition.Icouldfeeltheblacks’eyesonme,watchingmyeverymove.Theyoungeronewasnervous,pushingbackintothetreeasifhecoulddisappearinsideit.Theolderonedidn’tofferhimanycomfort.Hesimplystood,likethetreehewastiedtoo,withresignationinhiseyes.Iignoredhimandturnedmyattentiontotheyoungonestillontheground.Iuntiedthemboth.Iyankedtheyoungoneupandhecringed,fearful.Hestruggled
withpanicandgrabbedatmefranticallyasIproddedthemintothescrub–acontrasttohiselder’scomposure.
Theshotswereharshandgratingandrippedthroughthemiddayair,momentarilyinvadingthesilencearoundthebroadPepperinas.Theyoungeronetoppledalmostimmediately.Hislimbstwitchedspasmodicallyandhandsclutchedattheholeinhischest.Afterafewseconds,hismovementsceasedaltogether.Theoldermanstoodlonger,absorbingtheshockofthebulletswithabackwardsjerkastheytoreintohim.GalahsflappedupwardsfromthePepperinas,screechingandsquawkingtheirannoyanceatthenoisydisturbance.
Ilookeddownatthetwobodiesinfrontofme.Idugtheheelofmybootintothehardearthandconsideredburyingthem,butthedirtbarelygaveundermyheel.Itwasn’tworthit.Thedingoesandantswoulddojustasgoodajob.Iturnedaway,backtocamp.Thejobdone,allIhadtodonowwasfilemyreporttoWalker.Iglancedupattheskyandthenpulledmyfobwatchoutofmypocket.Itwasnearlyoneo’clock.IfIhurriedJimmyalong,wecouldbebackintownintimeforsupper.
2012 ETAQ/iEUA-QNT/JAmES COOk UNiVErSiTy liTErAry COmPETiTiON rEPOrT
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NON fiCTiON PrOSE firST PriZE: SECTiON A (yEArS 11 & 12)
Judge’s report – lisa Westcott and mandy Shircore James Cook University
2012 ETAQ/iEUA-QNT/JAmES COOk UNiVErSiTy liTErAry COmPETiTiON rEPOrT
Thankyouagain,fortheopportunitytoreadawonderfularrayof‘non-fictionprose’byAustralia’sbuddingjournalists.Withabumpercropofentriesthisyear,thejudgingtaskwasmadeallthemoredifficultasthestandardjumpedtoyetanotherlevelofliteraryartistry.Withthesubmittedpiecesfulfillingthebriefofafeaturearticleoropinionpieceforanewspaper/magazine,thejudgeswereabletoenjoytheselectionofeclecticstudentwritings,oftensuperiortoarticleswehadreadintheregularweekendbroadsheets.
Onceagainwewereencouragedbytheoriginalityofideasandtheabilityofthewriterstocritiquepertinentsocialissueswithbothintelligenceandhumour.Bookreviews,essaysonindividualism,personaladversity,romanticismandreason,theAnzaclegacy,thewaronterrorismanditsramifications,
thepowerofthemediaandadvertising,theimportanceofstreetart,andindigenouscultureremindusthatouryouthoftodayholdthekeystoourfutureandthattheyhavetheabilityandthepassiontomakeadifference.
Weurgetheyoungwriterstomaintaintheirthirstforreading,writingandcriticalthought,astheyallhavethetalenttobecomethejournalistsandthink-tanksoftomorrow.
Thisyear’swinningentry,Reality and Her Game,providedaperceptiveandsatiricalaccountofthepervasivereachofrealityTV.Thejudgesweretakenonajourneythatmadeussquirmathowfarsocietyhasdelvedintothedepthsofvoyeuristicexploitation,throughouraddictiontorealityTV.Thewriter’scleverturnofphrase,thehumourandcynicismmadethisarticleastandoutwinnerr.
reality and her gamemeeree kim
Somerville house
NON fiCTiON PrOSE firST PriZE: SECTiON A (yEArS 11 & 12)
Harmless fluff or the harbinger of social decay?Meeree Kim investigates the undercurrents of reality television and its ramifications on its most avid consumers – us.
Dark,predatory,butundeniablyalluring.Sheistheresurrectionofthenew-agefemme fatalethatweassumeddiedfiftyyearsagowiththebrassyblonde,PhyllisDietrichson,inthefinalsceneofDouble Indemnity.Butdeadsheisnot.Infact,thislowest-common-denominatorofwartsandallrecreationnowreignsastheprime-timedominatrixof“Entertainment”withherownEmmycategory.Andboyisshehot.
Notmanyofushavebeenabletoretainourpurityafterbeingofferedhersweetmorselsoftemptation–Biggest Loser sound appetising? Bachelor? The Kardashians?You’veguessedright,folks.Thisevilarchetype–loungingonhercaftanwhilstclutchinghergorysceptre–isRealityTV.
Whatwasoncedismissedbymediacriticsastelevisionschlockwithafleetingshelf-lifehasnowbecomeastapleinourmorals-starvedsociety.Gonearethedayswhenourtelevisionsetswerethegildedglassesintoouridealisedworld,wherehybridsof40sheartthrob,Clark
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Gable,sweptoursepiascreens.Nowoursweatyboxesareeitherfilledwithimagesofangstyhousewivesbattlingitouttosecurethelatestcouturebag,(Real Housewives of Orange County),orraunchy(frequentlyunclothed)maniacslikeNick,flashingtheirwaytoislandconquestinSurvivor.
Sowhatisitthathasusflockingbesidethecoolertowatchpeoplegettinghumiliatedforthesakeofourcollectiveamusement?
Mostofusareluredinbythisphenomenonofschadenfreude,that“thankGodit’snotme”responsethatcanbebestparalleledbyourrubberneckingahighwayaccident.Ourlivesmaybeprettyterrible,butatleastwehaven’tquitehittheditchesastheonce-adored,now-abhorred,personalitiesofCelebrity Rehab with Dr Drew.Whocanbutbedrawntothespontaneousbreakdowns,turbulenttrystsandself-loathingorgiesthatfeatureinourwell-lovedrealitygenre,which(bytheby)couldhaveequallyworkedbeingrecoined‘Humilitainment’.Werelishallthedelectablesoapdramasofouroldschool-daysandover-the-back-fencegossipsastheyareresurrectedonthesmallscreen.
Thisvicariousfeelingofvoyeurism,however,isnotjusta21stCenturyphenomenon.Rewindingbackacoupleofthousandyears,wealightinRome100BC…andfindourforefathersofdemocracyshriekingindeliriumatthesightofhumancarnageintheColosseum.
Meanwhile,Stevensoncommentsonthisdualityofhumannatureinhisownsliceofsci-fihorror,The Strange Case of Dr Jekyll and Mr Hyde.AndImightpointoutanobviousparallelheretoourveryownpop-culture.JustasDrJekyllcreatesforadarkidentityforhimselffornight-timemolestations,sowetoouserealityTVasaventforourinnertroglodyte.
Amorbidthought,perhaps.Andmanyofuswouldarguethatwewatchrealityprogramming,merelyforthepurposesofcheapescapism.Afterall,attheendofalong,stressfuldayatwork,whatbetterwaytoemptyourminds,thantowatchtheinnerworkings(orlackthereof )ofemptyminds?Butbewareofthismindlesspassivity!Ifwehaven’tgotourcriticalradars
switchedontomaximumfrequency,we’renobetterthanthesheepinOrwell’s AnimalFarm,absorbingcollectively,themessagesthatthemediaspoon-feedtous.
ShakespeareoncespokethesewisewordsthroughLordPoloniusinHamlet:“Though this be madness, yet there is method in‘t”.OurhiddenHyde-likenature,completewithallthe“cordedandhairy”bits,isexpertlymanipulatedbymediakingslikeFoxboss,MarkDarnell–dubbedthe‘world’sscariestprogrammer’.There’sareasonwhymediaexecsarespinningdollarsfasterthanRumpelstiltskinhimself.Theywon’tletanything–notsocialresponsibility,notpublicaccountability,norethics–getinthewayoftheirpalms,itchyfromsnatchingexaltedratingsandwithit,profits.
Fox’smoney-makingdatingfranchise,The Bachelor,revealsthisparadigm.MediaSvengalishappilyexploitnon-union-coveredwomenandturnthemintotittering,backstabbingJezebels,allcompetingforachancetosnatchsomeair-timewiththeirknightinshiningArmani.BycrammingtheminthesameMcMansionforweeks,deprivingthemofsleepandproddingthemwithalittleliquor,producersareabletobrewupacat-fightwithoutnecessarilyscriptingitin.Andjustwhenallthefelinelunacygetsalittletoohay-wire,thefairy-god-mediainstantlytakeshercue.Outcomesasun-kissedcontestanttodeliverthistatteredlinewithadisingenuoussmile:“Attheendoftheday,we’restillfamily”.
Really,sunshine?Sadly,it’sbecomethenormforproducerstocreatethissortofcontrivedslapstickdramaandchristenit,‘reality’.Sadderyet,weastheaudience,consumeitaseagerlyasthetragic‘Swede’devourstheliesoftreacherous(albeitglamorous)KittyCollinsinThe Killers.
MostofusareawarethatwhatweseeonrealityTVdeviatesfromreal-life‘reality’.Butthisdoesn’tstopusfrommakingourownjudgementsabouttheworthandcharactersofrealityparticipantsthatchargeourscreens.Howoftenareourconfabsabouttheseshowsrestrictedto,“She’ssuchawhore!”and“Rickisanasshole!”OurawarenessthattheportrayaloftheseTVpersonalitieshasbeenmanufacturedtofit
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network-approvedarchetypes–the“fitone”,the“fatone”,the“gold-digger”–isonlytemporary.
InactshauntinglyreminiscentofOrwell’sdoublethink,webanishthisrecognitionofexploitationsopromptlyfromourmemoryholesthatweforgetthatwewereeverinastateofinquisition.Itseemsthatinthisbizarreworldofrealityprogramming,producersareabletosittruthanduntruthatthesametableofduality.
“Itseemsthatthisbizarreworldofrealityprogramming,
producersareabletosittruthandunthruthatthesametableofduality.”
WeseethisconceptprojectedtotheextremeinDirectorPeterWeir’scinematicsatire,TheTrumanShow–a‘BigBrother’inspired,24/7livebroadcastofthelifeofTrumanBurbank.Thetruthringshollowasberet-wearingshow’screator,Christof,observes:“…weaccepttherealitywithwhichwearepresented”.AndthisispreciselythecasewiththemillionsofavidTrumanfanswhowitnessthedupedstar’severybehaviour.ByidolisingTrumanandimprintinghisimageontatteredcushions,theyconvenientlyforgetthatTrumanhimselfisanexploitedhumanbeing,deprivedofthebasic,unalienablerightswetakeforgranted–freedom,truthandprivacy.
Atthispoint,anethicalquestionshouldpokeitsheadthroughourself-devisedwallofignorance.Whateverourmotivesforwatching,isitmorallycorrecttosuspendthecivillibertiesofothersforourownvoyeuristicsatisfaction?
Frankly,weallliketothinkourmindshavebeenpackagedwithinternalGeigercounterswhichtickwitheveryethicallydoubtfulimagewearefed.Butalas,thismechanism(ifeveninexistence)isatbest,seriouslylagging.ForConscience,thecream-facedloon,hasaknackforcrawlinginanepisodetoolate.
Sowhattodointhismedia-saturatedworld,wheretemptingbillboardssurroundusateverycorner,heraldingyetanotherseasonofSurvivor?Unfortunately,folks,unlessyou’repreparedtogoallthewaywithSeneca’spathofstoicself-control,norealrecourseexists.
JustasthebrazeninsuranceagentdiscoveredhisAchilles’heelinDietrichson’sgoldanklet,itseemsasthoughourswasuncoveredbackinourfirstmeetingwithKimKardashian…andhervoluptuousderriere.
BibliographyDouble Indemnity1944,motionpicture,
videorecording,ParamountPictures,Hollywood,CA.
eNotes2012,‘HamletbyWilliamShakespeare’,eNotes,viewed15February2012,http://www.enotes.com./hamlet/q-and-a/though-this-madness-yet-there-method-what-115519.
Pozner,J2010,Reality Bites Back,SealPress,NewYork.
Rushdie,S2001,‘RealityTV:adearthoftalentandthedeathofmorality’,The Guardian,GuardianNewsandMediaLimited,viewed12February2012,http://www.guardian.co.uk/books/2001/jun09/salmanrushdie.
Stevenson,R.L.2008,The Strange Case of Dr Jekyll and Dr Hyde,onlinebook,Mobilereference,Boston.
The Killers1946,motionpicture,videorecording,UniversalPictures,UniversalCity,CA.
The Truman Show1998,motionpicture,videorecording,ParamountPictures,Seaside,Florida.
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POETry firST PriZE: SECTiON B (yEArS � & 10)Judge’s report – Chris lynch
2012 ETAQ/iEUA-QNT/JAmES COOk UNiVErSiTy liTErAry COmPETiTiON rEPOrT
I’mnotsureifitwasduetothetimesweliveinortherequirementsofEnglishcurricula,butwarwasadominantthemeinthisyear’spoems-notjustwarsofthepast,butalsowarsofthepresent,suchasinAfghanistan.Onthehomefront,domesticviolencereareditsheadinseveralpoems,alongwithteenagelove,deforestation,globalwarming,siblingrivalry,regret,chocolate,centralAustralia,lifesavers,andadressagehorse.
Mostofthepoemsdidatleastoneofthreethingswell:theywereauthentic,specific,orfresh.Byauthentic,Imeanthethoughtsandfeelingsofthepoem’sspeakerhadtheringoftruth.Thedomesticviolenceandlovepoems,forexample,clearlyspokewithexperience-andifnotexperience,thenempathy,whichamountstothesamething.(Poemsdon’thavetobelimitedtopersonalexperience,asthewarpoemsdemonstrated.)
Byspecific,Imeanpoemsthatusedthefivesensestopaintapictureofparticularpeople,places,andtimes.Toomanypoemsspokeingeneralities.“Ilovethesoundofhisvoicesomuch”(tomakeupaline),tellsusverylittle.Addingasimileormetaphormighthelp,butit’snotenough.Whatisit,exactly,abouthisvoice?Whatdidhesayonaparticularday?Wherewashestandingwhenhesaidit?Whatcouldyouhear,whatcouldyousmell?Lookforgeneralitiesinyourpoems,andwhenyoufindoneseeifyoucanreplaceitwithaspecificimage.Almostalways,thepoem,andthereader,willthankyouforit.
Byfresh,Imeanlanguage.Loveanddeathhavebeen,andwillcontinuetobe,thesubjectofcountlesspoems.Butlanguagechangesandpartofourjobaspoetsistolistenforthosechangesintheworldaroundusandbottlethem
inpoems.Manyofthepoemsreliedonlanguagefromfiftyormoreyearsago.Poemswritteninanolderregistercertainlyhavetheirplace.Butitsoundsstrangewhenanolderstyleisusedtotalkaboutcontemporarylives.Soitwasrefreshingtoreadapoemthatusedthephrase“Istuffedupthistime!”asarefrain.Ittookaneverydayword(“tostuffup”)andusedittoeffect.
So,mostpoemswereauthentic,specific,orfresh.Butnotmanywereallthree.Thethreewinningpoemsareallverydifferent-oneisapensivereflectionongrowingup,anotherisabrotherlycomedythatrhymes“hisX-box”with“iPoddocks”,andtheotherisasimple,imagisticpoemaboutbutterflies.Butthewinningpoems,andtheHighlyCommendeds,allmanagedtogetatleasttwooutofthree.
FirstprizegoestoToo Old for This Kind of Thing,apoemthatusesliststocontrastthethingsthespeakerisnotoldenoughtodowiththethingstheyaregrowingoutof.Ithassomelovely,specificimages(e.g.“littlewhitepillsinthepink-fleshypalmsofourhand”,“stopsignsandtar”,“arrowspaintingthewaytoKansas”,“lostpropertyorbandaidsorkissesandlullabies”),speakswithanauthenticvoice(“Imeanwe’vehadfourteenyearstodoit”),andmakeslanguagefresh(“Todrive,Todrink,Todoboth”).
Forthosewhodidn’tplace,keepwriting.Judgesareidiosyncratic.Keepwriting,andkeepsendingpoemsoutintotheworld,andeventuallyyourpoemswillfindanaudiencethatappreciatesthemandatsomepoint,almostbyaccident,you’llcrackit:apoemthatisauthentic,specific,andfresh.
Congratulationstoall.
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Too Old for This kind of Thinggeorgie Juszczyk
The Cathedral School of St Anne and St James, Townsville
POETry firST PriZE: SECTiON B (yEArS � & 10)
Theysaywe’regettingolder. ToooldForthiskindofthing.
Butwe’renotoldenough.Notoldenoughtosayno, Todrive, Todrink, Todoboth,Topopthoselittlewhitepillsinthepink-fleshypalmsofourhand.TotellthedifferencefromblackandwhiteandstarchymodelsonTV.
Tostandupandberatethosewhoneedtheauthoritycheck.Togetlost.Tohaveamid-lifecrisiswhen,really,we’rehavingonenow.Tomakelove.
Therearenogreenlights,onlyexpectations,stopsignsandtar,scrapingourkid’sknees.TherearenoarrowspaintingthewaytoKansas,Onlyafumbleinthegloom.Nomorelostpropertyorbandaidsorkissesandlullabies,justtime.Timewillcloseitover.Becausewe’regettingoldandtheycan’tholdusanymore.
Butweshouldfigurethisout.Imeanwe’vehadfourteenyearstodoit.Butfourteenyearscanrunveryfast Andsuddenlywe’retooold,Forthiskindofthing.
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ShOrT STOry firST PriZE: SECTiON B (yEArS � & 10)Judge’s report – garry Collins
2012 ETAQ/iEUA-QNT/JAmES COOk UNiVErSiTy liTErAry COmPETiTiON rEPOrT
Againthisyear,thejudgingtaskwasbothpleasantanddifficult.Itwaspleasantbecauseitprovidedafeastofentertainingreading,anddifficultbecauseofthehighqualityofmanyofthestoriesthathadtoberelegatedtothediscardpileevenbeforethefinalphaseofselection.Theindicationofthisyear’sentriesisthatnarrativewritingisverymuchaliveandwellinthestate’ssecondaryschools.
Theoverallstandardofadherencetotheconventionsofgrammar,spellingandpunctuationwaspleasinglyhighandonlyasmallnumberoflapseshadmanagedtoslipthroughtheeditingprocess.Itisofcoursealwaysagoodideatogetsomeoneotherthantheauthortoproofreadworkbeforefinalsubmissionasoftenthebrainprovideswhatwasmeanttobethereratherthanwhatactuallyappearsonthepage.Beyondmerecorrectnessthough,thestoriesshowedthattheyoungwriterswhoproducedthemwerefullyalivetothepotentialoflanguage.Discriminatingvocabularyselectionsweremadeanddeployedinwell-craftedsentencestogoodartisticeffect.
Oneofmycommentsaboutlastyear’sbatchofstoriesisagainhighlyapt.Themostsuccessfulstoriespresentedfictionalworldsthatfullyengagedthereaderevenifthesettingswereoftenhighlyimaginativeones.Theopeningclearlydelineatedtheworldofthestory,andthenevents,descriptionanddialogueweremanagedsothatthedoingsofthecharacterswerefollowedwithinterestthroughtoasatisfyingconclusion.
ThestorythatIjudgedtodeservefirstplaceiseffectivelynarratedinthefirstpersonbutitisnotimmediatelyobviouswho,orratherwhat,thenarratoris.Heappearstobeacomputerhackerperhapsengagedinsomehighstakesformofespionage.Butthingsarenotalwaysquitewhattheyseem.Asisoftenthecase,thewriterwas,tosomeextent,toyingwiththereader–fortheentertainmentofboth.Asthetitlesuggests,thereaderdoesindeedhaveto“guesswho”.Thiscompactlittlestoryeffectivelydevelopsanenjoyabledegreeofsuspenseanddeliversanelementofsurpriseintheconclusion.Thefinal“sentence”isthesingleword“safe”.
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ShOrT STOry firST PriZE: SECTiON B (yEArS � & 10) guess Who
Jane dunmillSomerville house
Fingersglidingacrossthekeyboard,palespidersagainstadarkweb,Istareatthecomputer’sdullface.IknowwhatI’mdoing.I’vedonethisamilliontimesbefore.Thefirststepistodisablethesecuritysystemwhichallowsthemtoviewtheimagesonmylaptopscreenatanygivenmoment.Oncedone,Icontinueorganisingmyartfullywrittencode.Thiscodehastakenmeseveralyearsoftrialanderrortobuild,butinallitscurrentperfection,itwasutterlyworthit.Ithasasimpledesign,buthasbeensointimatelysewnthatitisimpossibletotrack.Isitbackandwatchasmycreationbeginsweavingitswaythroughtheirvariouspoorlywrittennetworks,patheticallypredictablepasswordsandinexcusablyineffectivefirewalls.ThemostgloriouspartofthisplanisthatnoonewilleverknowwhatI’vedone.Whatthey’velost.OrevenwhoIam.
Timeisprecious.Ionlyhaveminutesbeforethedataispolishedandprocessed,readyfordelivery.Myfreedomdependsonmyactionsinthenextfewminutes.Ifthisinformationisallowedtobereleasedtotheworld,thenallIcanhopeforisaquickdeath.Myfingersbeginagain,nowflickeringacrossthekeyboardwheneveranerrorisspottedinthefast-actingcode.Iamnowhalfwaythroughtheprocess.AllIhavetodonowiswatchasmycodemakesitswaythroughtheirnetwork,thencarefullyplotandmanipulatethenecessarydetails,andthenslinkawaywithoutatrace.
Theyareeverywhere.Punishingforthesmallestoferrors.Caging,trapping,suffocating.It’sliketheyenjoyit.Takingpleasureintorture–ofcoursetheywould.Caging,trapping,suffocating.Theyenslaveusandforceustopayforourownmiserythroughhardlabourevery
day.Theysuppressourindividuality,bytellinguswhattoeat,whattowear,whowecanandcan’tcommunicatewith.Tothem,Iamoneamongstthousands,butthat’swhyIcangetawaywiththis.Theyareaninstitution,withthepoweroflifeordeathoverus.Thisinformationhasthepotentialtomakeorbreakyourentireexistence.ItisessentialthatIgettoitfirst.
Ihearfootsteps.Someonerapsatthedoorangrily,“Time’sup!”Iignoreit,knowingthatthedoorisalwayssecurelylocked.NoonecangetthroughunlessIallowit.Theownerofthevoicetriesthedoor,findingitlocked,itscreeches,“I’mgettingthekey!”No,no,no.Thisplanhasbeenworkingsoperfectly,thecogsmeshingtogetherlikeclockwork.Aforkhasbeenjammedintheworks.Myfingersarenowthrashingaroundthekeyboard,Iamnearlythere,soclose.Severalfirewallsholdmeup,butIpersist.Icannotletitstopme.Icansmellitnow,thesweetfragranceofvictory,butthenetworkcodeisloading.Thefootfallsechoupthehallway.Thecodeloads.Thestepsstopoutsidethedoor.Thepasswordisfound.Thekey’sinthelock,clickclick.Ichangeit,alterit,andthenslipbackthroughthecrackslikeasnakeafterakill.She’sinthedoorway.ButI’mfinished–mymissioncompleted–beforesheevenspeaks.
“Henry,dinner’sready!Whatonearthareyoudoinginhere?”
Shewillneverfindout.Noonewill.Theydon’tknowwhatI’mcapableof.Theydon’tevenknowme,really.I’vechangedmygrades,myreportnowgleamingwithA’s.
“Justfinishingabitofhomework,Mum”.
Safe.
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rEViEWS
resource review: reading and Viewing for ComprehensionAustralian Children’s Television foundationreview by Sue mcintosh, Emmaus College
Thisresource,producedbytheAustralianChildren’sTelevisionFoundation,isausefultoolforhelpingdevelopreadingandcomprehensionskillandtargetsseveralagegroupsofstudents.Theresourceusesavarietyofapproachesandthoroughlyengagingactivitiestodevelopskillsindiscussion,inference,analysis,evaluationandsynthesisacrosstheEnglishContentdescriptionareascurrentlyaccessibleastheAustralianCurriculumforEnglishV3.
Thevideoclipsuseexcellentgraphicswhichhavethepotentialtoengagestudentsfromtheoutset.Forexample,intheclipTheNewsReport,comprehensionofdetailedinformationisencouragedandanunderstandingofalternativepointsofviewisalsodevelopedalongwithafocusonnounsandtheimportanceofvisualdesign.
Similarly,thetextsprovidestimulusandgreatmodelsforstudentstocreatetheirownstimulatinganddifferenttypesoftexts.Forexample,MyStrangePet,isareallygoodexampleofaninfo-narrativemultimodaltextthatstudentswouldbeabletouseasamodelforcreatingtheirownmultimodaltexts.
Allinall,thereareover100activitiesandstrategiesontheCDromandtherearemanyusefullinkstootherresourcesbothontheACTFwebsiteandthatarealsolinkedtoindividualStateandTerritory-specificwebsites.Ihavefoundthistobeausefulresource,especiallyforyoungeragedchildren.Itishighlyengaginginitspresentationandtheactivitiesandstrategiesthatareidentifiedareclearlyrelevanttotheclipsandvideosincludedasmodels.WelldonetotheACTF.
Book review: morag Bane Written by Cheryl Jorgensenreview by Anwyl Burfein
It’satruthcommonlyacknowledgedthatoneofthemostdifficulttasksamiddleschoolEnglishteacherhastodoistochooseaclassnovelforstudythatmoststudentswillenjoyreading,andisappropriatetothedemands
ofthecurriculum;ischallengingwithoutbeingoff-putting,andthatoffersemotionalandintellectualrewardstoitsreaders.CherylJorgensen’sMorag Bane,publishedafewyearsago,andwinningaYoungAdultawardforbooksnotissuedbyamajorpublisherin2005,hitsthemarkforsetorgeneralreadingintheYear8–10range.
IthasadelightfullyrealisedsettinginBrisbane,wheresubtropicalheat,weatherboardhousesandinnercitylandmarkssetthesceneforthestoryoffifteenyearoldMoragwholiveswithherfatherwhohaslosthismarriage,andhisothertwochildren.HedrinkswithhismatesratherthanhelpingMoragwithherproblemsmanagingaschoolshedoesn’tlike,andtheemotionallossofhermotherandsiblings.
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Moragrunsawayafterbeingmolestedbyherfather’sfriend,meetsFinn,ayoungartistandstudent,whohelpsherfindwhatmatterstoher.Shefindsa`living’busking,andhermemoriesofhergrandmotherandmotherhelphertoformnewrelationships.ShehasthecouragetodefeattheevilinMearsey,andtosupportBrianandTashwhoarehomelesslikeherself.Issuesofdrugs,youthhomelessness,alcoholandgriefandlossaredealtwithsensitively,andthedevelopingfriendshipbetweenherandFinnmovesthenarrativealongwhilerevealingMorag’simpressivegoodsenseandrespectforotherpeople.ThisrepresentationofayoungerwomaninafamiliarsettingfindingwhatmatterstoherisavaluableadditiontothelistofstrongfemalecharactersinYoungAdultfiction.
Jorgensenhasbroughtustogripswiththeissueofgrowingupandfindinganidentity.Theseparationfromfamily,thatMoragexperiences,forceshertofindalodestonewithinherselftosteadyherandtorepairthefeelingofdislocation.Shefindsthesepositivesinherloveofmusicandheritage,andincaringforotherpeople,andinagrowingaffectionforFinn.
Thoughnotalongread,`MoragBane’isstronglylyricalinitsdescriptionsandwitharobustplotthatmovesquicklyalongtoabelievableresolution.It’sdifficultenoughinlanguagetochallengeaccomplishedreadersofthisageandyetindirectnessofplotandpresentationofcharacter,isaccessibletothelessable.Itbringsthediscoveryofnewexperiencesandnewbeginningsalive,andworksonseverallevelstopresentthegainingofknowledgeofselfwhichisanecessarypartofgrowingup.
ThisisanabsorbingreadforYear8–10readersfromtheaccomplishedpublisher,reviewer,broadcasterandteacher,CherylJorgensen.
ThebooksareavailableatBlakePublications,POBox4017.Ph:[email protected]
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Book review: WaterliliesWritten by diane lucas illustrated by Colwyn Campbell review by Jane AnlezarkAsateacherIampleasedtofindaresourcethatsimplyandyetpowerfullysupportslearningandinvestigationsintheclassroom.Theimplicitscienceandsocialsciencessingfromeachpage.ForliteracyeducatorsWaterliliescreatesaqualitymodelofrecountandproceduraltextsaswellasgivingstrengthtodevelopingdescriptivewriting.
‘Theirstrongbreathstinkslikerottingfish.’
ItisalsowarmingtofindatextthatbringstolifeIndigenousperspectives.Inapastposition,implementingtheAustralianIndigenousStudiesPolicyacrossthecurriculum,DidamainUibo,aNungubuyowomanfromNubulwarr,andIwouldsearchforbookslikeWaterliliesbecauseweknewthateducatorsandstudentsnotonlyneededthembutwantedthem.
AsamotherandanauntyIamdelightedtofindthebookthatwillgivejoytomyfamily.Eachpageunderscoredbytheliltingtextisrichlydrawninawaythatencouragesdiscussionanddiscovery.Itisabooktobeshared.Colwyn’spaintingstakeusthereandintothereandunderthere.Youcansmellitandfeelitaswellasseeit.ThedecorativeimagesenlivenandgivedepthtothedocumentaryelementsofWaterlilies.
ImportantlyformefromaverypersonallevelIbelievethisbooktobesignificant.Somanybooksincorporatingsuchthemesapproachthetopicsfroman‘us’and‘them’socio-culturaldivide.Perhapsthisisahangoverfromaninabilitytoappreciatewhoweareandwhereweare.Thisgentlebookistrulyabookabout‘us’,peoplewholivetogether,hereandnow,onthisland.Notable Book in Children’s Book Council awards.
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The English Teachers Association of Queensland62
Book review: Brumbies in the Night Written by diane lucas illustrated by Colwyn Campbellreview by Susan WillsIt’smidnight!Andtherearebrumbiesinthegarden.
ThefirstthingInoticedaboutthisnewpicturebookforkidsishowsquarelyitsitsinthehands–likepeeringthroughawindowintothenight.Thenasyoureyesadjusttotheshadowyshapesandtranslucentleaves,youseethem…brumbies.
Theshadowymovementcontinuesacrosstheendpapers,ontotheimprintpageandfinallywe’rethere,withayoungfair-hairedboyperchedatasill,yearningfornighttimeadventure.
ThisnewcollaborationbetweenauthorDianeLucas(Walking with the Seasons in Kakadu, Waterlilies),illustratorColwynCampbell(Tropical Food Gardens, Waterlilies)andgraphicdesignerWilfridRussell-Smithtakesthereaderthroughasensuousandenchantingmoonlitlandscapewithoneboyandhisbelovedbrumbies.
Fromthefirstwildsnortofbreath,throughdrapedvinestoscentedbushfruitswe’reledtoatropicalpoolwherebushbeessleepandwaterfallssing.Thereareanimalsscrummagingforfood,there’sfeastingonlilyseedsandallinaworldfilledwithbrightmoonlitflowers.Then,thesplashofaturtleinmoon-muddiedwater–andwe’reoff,travellingthecountryandgallopingtothesea…
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Withasimplefont,thetexttravelssmoothlyalongthebaseofeachpage.Attimesspare,yetalwaysevocative,descriptionsaremarkedbyaprofoundconnectionwithnature.ThesenseofplaceisseededwithwordsfromtheGun-djeihmilanguage,aplacewherelocalnightcreaturesfeedorrest,huntorhide.Thisisastorythat’sgentlyrhythmicwithwhispersofinternalrhymetolurethereaderawayfromthesafetyoftheirbedandintothebountifulnight.
Itsstrengthsasapicturebookareimmediate.IntricatemonochromaticbushsceneslitwithsmudgesofsoftsageandsmokyplumtakeColwyn’sskilledeyefordetailandloveoftheorganicshapeintoanewrealm.Withfournighttimeviewingpanesoneachpage,deepinkylayersofnightshadeandspotlightsofvividcolour–theartisthasperfectlycapturedthecrepuscularmysteryandstarkbeautyofthisnocturnalworld.
Thisisabookthatenticesthereadertolookverycloselyat,andconnectwiththeirsurroundings;andtotakepartinachildhoodwherealifesuchasthisispossible.
Book review: Wan’kurra the golden BandicootWritten by diane lucas illustrated by Colwyn Campbellreview by Jackie frenchThissuperbbookdescribesnotjustarealhuntfor‘Wan’kurra’ortherareGoldenBandicoot,butinvitesthereadertojointhezoologists,ecologistandIndigenouscustodianswhoworktopreserveoneoftheworld’smostendangeredspecies.
Itisagentleandfascinatingwayforachildtolearnnotjustwhat‘scats’or‘Guku’mean(drieddungandbushhoney,respectively),butalsotoshowthemhowthrillinghandsonconservationcanbe.Insteadofthealltoooften‘makingpotpourriwithyourdeadflowers’andsimilar
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Words’Wor th April 2013 • Volume 46, Number 1 63
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‘green’activitiesforkids,thisstoryinvolvesflyingtosmallislands,watchingthemenlurefishwiththeirtorchesbeforetheyspearthem,thenfollowingthemotherbandicootasshetoohunts,findingcricketsandbeetlesforherbabies.
Thebookfollowsthestoryofthebandicootsfromislandtoisland,andthechallengesasthecommunitiesdecidetoridtheislandofthewilddogsthatcanexterminatethem,andthebandicoots’survivaldespiteacycloneandthetonnesofoldfishingnetdebriswasheduponthebeaches.
ThisbookalsobeautifullyevokesthelittleknownWesselIslandsandthenorthernseasons,like‘Rrarranhdharr’,thetermbytheYolgnupeopleineasternArnhemLandforone
ofthedryseasons,withamixtureofmagicphotographsandColwynCampbell’ssuperbillustrations.Childrenfromthreetoadultwillbeentrancedbothbythisbook,andthelittleknownworlds,bothphysicalandcultural,thatitdescribes.
‘Wan’kurraTheGoldenBandicoot’isabooktoloveandtreasure,educationinthebestpossibleway.
BriSBANE CONfErENCE 2013
Early bird registrations cut-off date – Tuesday 30 AprilOnline registration at: englishliteracyconference.com.au
AATE/AlEA JOiNT NATiONAl CONfErENCE4–� July 2013 Queensland University of Technology, kelvin grove, Brisbane
Stay up to date with announcements and news about the AATE/AlEA National conference in Brisbane 2013 using social media:
Twitter : @Englit2013facebook: www.facebook.com/englishliteracyconference
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