ENGLISH YR 11
**if not personal, use inclusive language.
**if personal response, use exclusive language.
Perspective + purpose:
3 consecutive opening sentences:
What the text presents.
What text supports.
[key word] allows for…
Refer to contextual factors.
Open to first point.
Provide evidence.
State what is in the quote: “This quote shows that…”.
Reinforce by explaining: “By having the text include/have…reinforces…”.
Relate back to key purpose.
Summarise.
Restate evidence and explanation in very short sentences.
Relate back to question; what and how.
**Just think about art for this one
Visual language features:
Introduction.
What visual language features create what?
Talk about each point (visual language feature) stated in introduction.
expand on topics by using language features. E.g. composition → foreground to juxtaposition, emphasises…
Explain the effect (just make up a meaning)
Summarise.
Restate evidence and explanation in very short sentences.
Relate back to question; what and how.
Composing a narrative, following a prompt
Take a moment to think about the prompt.
Keep it simple.
Focus on one character.
Similes and metaphors.
STICK TO THE GENRE
General Essay Structure
Introduction
What creates what.
State how.
Then why those things were used to create the overall goal.
Body Paragraphs
Elaborate each ‘how’.
Evidence?
Analyse evidence, link back to question.
Conclusion
Summarise the whole thing.
Restate evidence/explanation and how it relates to the question.
Discuss how language features are used to represent a character in Text 1:
Armadale by Wilkie Collins.
The room was decorated in the gaudy continental fashion, and warm sunlight was shining in joyously. Cupids and flowers were painted on the ceiling; bright ribbons looped up the white window-curtains; a smart gilt clock ticked on a velvet-covered mantelpiece; mirrors gleamed on the walls, and flowers in all the colours of the rainbow speckled the carpet. In the midst of the finery, and the glitter, and the light, lay the paralysed ma, with his wandering eyes, and his lifeless lower face - his head propped high with many pillows; his helpless hands laid out over the bed-clothes like the hand of a corpse. By the bed head stood, grim, and old, and silent, the shrivelled black nurse; and on the counter-pane, between his father’s outspread hands, lay the child, in his little white outfit, absorbed in the enjoyment of a new toy. When the door opened, and Mrs. Armadale led the way in, the boy was tossing his plaything - a soldier on horseback - backward and forward over the helpless hands on either side of him; and the father’s wandering eyes were following the toy to and from, with a stealthy and ceaseless vigilance - a vigilance as of a caged animal, terrible to see.
Response:
‘Armadale’, a novel written by Wilkie Collins features a character who is revealed by language features. Language features including juxtaposition, and similes work in conjunction to develop and represent a character. We are able to interpret that this character is paralysed, and is progressing towards the end of his life on this bed.
The similes in the text reveal that he is extremely ill. It describes him, stating, “…his helpless hands laid out over the bed-clothes like the hands of a corpse”. This quote infers that he is a living corpse; that physically he looks like death has already taken him. The simile creates contrast between his hands and hands of a lifeless body, this emphasises his paralysis and vulnerability.
Additionally, the juxtaposition of life and death in the room further characterises him. The lavish decorations “…the Cupids, flowers, gilt clock, and mirrors…”, contrast sharply with his suffering. The room’s beauty in the form of decorations represents the contrast to his deteriorating condition, highlighting the tragedy of his situation.
In summary, through similes, and juxtaposition, the language features in this passage reveal a character who is bed-ridden, paralyzed, vulnerable, and trapped in a room that contrasts with his suffering. The imagery paints a melancholic picture of his reality.
Exam question:
Text one is an extract from a memoir entitled The Archipelago of Us: A search for our identity in Australia’s most remote territories, by Renee Pettitt-Schipp.
He has stepped onto the
boardwalk and begun to walk beneath the towering Tahitian chestnuts, where the
frigatebirds are beginning to call with a long, low whooooop, whooooop, whooooop.
Massom points to the canopy above his head.
‘Monk?’ he begins to ask.
‘Monkeys? No, they are birds,’ I laugh, and flap my arms to show what I
mean. Massom turns in a circle where he is standing, he raises his arms, raises them
high and wide, turning and turning, laughing and looking at us in disbelief. He is
exhilarated, standing in the jungle, with the wild sounds of the world all around
him. I watch him, it is breathtaking, incredible, something I had started to believe
was not possible. He turns and whoops and laughs and all I want to do is watch, to
be steeped with the wonder of this moment, watching everything in Massom spark
and glow.
Soon we arrive at a juncture, where we turn left and begin the ascent up the
gentle slopes of the hill alongside the clear, wide stream making its unhurried way
to the sea. The climb becomes steeper, the air filling with the acrid smell of
moisture and leaves. Sweating into the humidity, we finally reach the last platform,
and as we do I take my final step up and then desperately try to stop myself
bursting into laughter. For there at the pinnacle is not only the thunderous wall of
water cascading between lush ferns and netting the light, but at its base sits a
beautiful young woman with long, blonde hair in a bright pink bikini.
I can’t help but look briefly at Massom and Erfan. They both look comple tely
stunned, but seem to be trying not to stare, so I busy myself with my bag and give
them a moment. I wonder how far this scene must feel to the men from the
concrete and steel of their respective detention centres. Soon the girl and her older
friend dress and leave, and we all go and stand with our feet in the flow, reach out
and cup the water, feel the spray from the fall form a moist haze around our faces.
We explore upstream, where the water pools wide and dark beneath tall trees, and
where yet more blue and red crabs hide amongst elaborate roots. Years later,
Massom will write to me from Melbourne, will tell me this was one of the best
moments in his life.
Explain how language choices represent new experiences in Text One.
Language choices assist in developing and representing new experiences in the text. The character’s new experiences in The Archipelago of Us: A search for our identity, are built up by the author’s use of language features such as dialogue, descriptive language, and the rule of three. This extract depicts the story of which the characters adventure in the Australian outdoors, gaining new experiences as they go.
Dialogue within the text creates a hint that these characters have never experienced certain events before. Evidently in the text a character says, “Monkeys? No, they are birds’, I laughed”. This quote was a response to another character, questioning the sound of which he is curious about. From this, we are able to interpret that the character, assuming what the sound was, had never heard the sound before, hence why he is questioning it. This gave way to the response of the character quoted previously, to explain that they are not monkeys, but birds. This piece of dialogue reveals that a character has never experienced this before, has never heard this bird’s call or has ever known of a bird that could make a noise like this which leads him to question it out of curiosity, making this a new experience.
The rule of three helps the audience in imagining the characters’ views and experiences in this text. In the extract, the author states, “feet in the flow, reaching out to cup the water, feeling the spray from the fall…”, this quote describes the characters’ experiences, using the rule of three. The use of the rule of three in the description of the text creates a flow in words which embodies the description of the flowing water which allows the audience to experience the scene. The use of sensory language suggests that this is a new experience. They reach out to feel the flowing water as if they are doing something they have never done before. The use of the rule of three accompanied by sensory language, reveals that their experience is a new experience.
Descriptive language allows the audience to further immerse themselves in the new experiences of the characters within the extract. It is evident in the text
In short, just think of analysing in art (⌐■_■)
Cinematography: Documentaries often feature diverse cinematographic techniques to capture real-life events, including handheld camera work for a sense of immediacy, long shots to establish context, and close-ups to convey emotion or detail.
Lighting: Lighting in documentaries varies depending on the subject matter and setting, with natural lighting preferred for authenticity but artificial lighting used when necessary to ensure visibility and clarity.
Composition: Documentary compositions are carefully crafted to frame subjects within their environment, convey mood and atmosphere, and guide the viewer's attention to key elements or details.
Visual Effects: While documentaries typically prioritize authenticity, visual effects may be used sparingly to enhance storytelling or illustrate abstract concepts through techniques such as animation or motion graphics.
Editing: Documentary editing plays a crucial role in shaping the narrative, pacing, and flow of information, with techniques such as cuts, fades, and montages used to condense time, convey meaning, and create emotional impact.
Interviews: Documentaries often feature interviews with subjects relevant to the film's topic, providing first-hand accounts, insights, and perspectives.
Archival Footage: Documentaries frequently incorporate archival footage, photographs, and audio recordings to provide historical context and support the narrative.
Voiceover Narration: Many documentaries utilize voiceover narration to guide the audience through the story, provide context, and offer commentary on the subject matter.
Verité Style: Some documentaries employ a verité style, capturing real-life events and interactions as they unfold, often without scripted dialogue or staged scenes.
Expert Commentary: Documentaries may include commentary from experts, scholars, or individuals with specialized knowledge related to the film's subject, offering analysis and interpretation.
Montage Sequences: Montage sequences are commonly used in documentaries to condense information, convey a passage of time, or evoke an emotional response through rapid editing and juxtaposition of images and sounds.
Reenactments: In certain documentaries, reenactments or dramatizations may be used to recreate key events or illustrate historical moments when archival footage is unavailable.
Graphics and Text: Documentaries often utilize on-screen graphics, text overlays, and visual aids such as maps, charts, and diagrams to provide additional information and enhance understanding.
Musical Score: Music plays a significant role in documentaries, setting the tone, evoking emotions, and enhancing the storytelling through carefully selected compositions and soundtracks.
Interviews with Filmmakers: Some documentaries include interviews or behind-the-scenes footage with the filmmakers themselves, offering insights into their creative process, motivations, and challenges encountered during production.
Viewpoint: The particular stance, angle, or standpoint from which a character or narrator perceives and interprets events, issues, or situations in a text.
Context: The circumstances, background information, and setting that shape and influence the character's or narrator's viewpoint, providing a framework for understanding their perspective within the narrative.
Representation: How the character or narrator presents themselves and their community, whether accurately reflecting their experiences and perspectives.
Tone: The attitude or emotional expression conveyed through the character's or narrator's voice, which can range from serious and somber to light-hearted and humorous.
Language: The specific words, phrases, and expressions used by the character or narrator, which can reveal their cultural background, level of education, and emotional state.
Values: The beliefs, principles, and priorities expressed or implied by the character or narrator, which can shape their actions, decisions, and interactions with others.
Just make something up if you can’t remember…
1. Phurba Tashi Sherpa Mendewa: "For us, climbing Everest is part of our life. It's a way to support our families, but it also holds a deep spiritual meaning."
2. Ngima Tsering Sherpa: "We are the backbone of the mountain. Without Sherpas, there is no expedition."
3. Russell Brice: "Climbing Everest has become a very commercial business, but we must never forget the Sherpas who make it all possible."
4. Ed Douglas (Journalist): "The mountain is sacred to the Sherpas. For them, it's not just a challenge or a prize, it's a deity."
5. Ang Tshering Lama: "Every year we come here, every year we face the risks. We do it because this is our home and this is our life."
6. Dawa Tashi Sherpa: "When we are on the mountain, we feel the presence of the spirits. We always seek their blessings for a safe journey."
7. Norbu Tenzing Norgay: "Everest is a cash cow for many, but the Sherpas pay the price."
8. Karma Gyalzen Sherpa: "The mountain doesn't discriminate. It challenges everyone equally, but the Sherpas bear the greatest burden."
9. Pemba Sherpa: "For the world, Everest is a dream. For us, it's a livelihood filled with danger and sacrifice."
10. Dorje Khatri: "Climate change is impacting the Himalayas. Our glaciers are melting, and this affects our lives and the mountain we revere."
Teacher’s example:
T – the documentary opens which montages of the Nepalese mountains accompanied by mysterious and harmonious music. Peedom’s (director) choices to use conventions of the poetic documentary style.
E – Poetic style works through evoking feeling rather than making a point
E – the visuals include multiple images of the Nepalese mountains in fast motion, including wide angle shots of the snow swirling the music is unfamiliar and suspenseful
E - A combination of these stylistic features works to influence a wester viewer to feel displaced in this environment. I am an outsider discovering the world. That is not like anything we have experienced before. Since I know from the title that this documentary will focus on the experiences of the sherpas, I am immediately influenced to understand that this is a documentary which I will come to understand the culture and experiences of the sherpa.
L - Because I am a westerner this mysterious and fearful mood foreshadows that I am about to uncover of social injustice plotted to indigenous people
Another example:
T - The documentary introduces Phurba, a seasoned Sherpa guide, through a series of interviews and footage showcasing his role in leading Everest expeditions. Peedom's directorial choice to emphasize Phurba's perspective establishes him as a representative voice of the Sherpa community, providing insights into their experiences and challenges in the Everest industry.
E - By foregrounding Phurba's perspective, the documentary adopts a personal and authoritative approach, allowing viewers to witness firsthand the daily realities and complexities of Sherpa life. The visuals include shots of Phurba navigating treacherous mountain terrain with confidence and precision, while the interviews capture his candid reflections on the cultural significance of mountaineering for the Sherpas.
E - These stylistic choices work in tandem to humanize Phurba's experience and elevate his voice as a spokesperson for the Sherpa community. The juxtaposition of awe-inspiring mountain landscapes with intimate glimpses into Phurba's life and work serves to underscore the Sherpas' deep connection to the Himalayas and their crucial role in supporting Everest expeditions.
A - As a viewer, I am drawn into Phurba's story, feeling a sense of admiration for his resilience and dedication to his craft. The documentary's focus on Phurba's perspective prompts me to empathize with the Sherpa community's struggles and aspirations, deepening my understanding of their cultural heritage and values.
L - As a Western audience member, Phurba's narrative serves as a window into the Sherpa world, offering a nuanced portrayal of their traditions, beliefs, and contributions to mountaineering. The personalization of Phurba's journey invites me to reflect on the power dynamics and ethical considerations inherent in the Everest industry, prompting me to engage critically with issues of representation and exploitation in adventure tourism.
Random notes:
The conclusion of expository style texts do not conclude everything nicely. It is a call to action so it may leave the audience with thoughts and questions.
(Teacher’s random notes/consider it irrelevant but just take a scan through))
Evaluate is to make a judgement about the effectiveness.
She achieves her purpose by…
Make a judgement on possible endings
Journalist’s reflective as voice-over against panning long-shots of the mountains.
Effect?
Response?
Peedom’s choice to start a closing sequence with a journalists reflective voice against a panning long-shot of the mountains directs the audience’s response towards the environmental aspect of the documentary which leads onto the the culture and spirituality of the Sherpas, as a sense of serenity is expressed within the shot.
Tenzing’s Story is then shown again with the voice-over of his son, to remind us of the past, creating a metaphorical bridge between the present and the past, it creates a connection between the audience of today and the Sherpas of the past.
The close-up shots induce a sense of familiarity and closeness.
The Sherpas haven’t changed throughout the documentary, only the viewer has.
“They’ve got control of climbing the mountain” - This is a good choice because the mountains were a sanctuary for the Sherpas; now they have gained back full control of the mountain, controlling when or who climbs.
“Our father wanted to get us the best education possible so we could have other careers not climbing” - values of family and education are expressed.
A montage of spiritual conditions accommodated with calming music - it doesn’t seem as if they are struggling financially, contrasting from Bryce’s voice.
Phurba’s voice is reflective - he is proposing a future without foreigners, a land’s return to the indigenous.
“If I had climbed, I would have climbed 22 times” - he would’ve broken a world record. A sense of Irony.
“But if I go to the mountain and my family is not happy, then there is no benefit in earning that money” - Phurba (Sherpas) has completely rejected capitalism.
We end off with black screen, informational text. The motivation was to remind us of the government (capitalists), and not just end off with the ‘happy’ life of the Sherpas. We are reminded that the industry will continue.
“Russel Brice continues to campaign to make climbing safer on Everest” - makes Brice look good, to pay some homage after how he was portrayed. It makes us think, complicates the situation and reminds us about how complex this concern may be. Brice has a very strong parallel; we thought he would be gone but he comes back.
“One year later, Just as the 2015 Everest climbing season was getting underway, a major earthquake hit Nepal, killing 19 people including 10 Sherpas. - despite everything they did, and went through, people still die.
“In memory of all the Sherpas who have died working on mount Everest”
Ethos
Definition: Appeal to ethics, credibility, and trustworthiness.
Example: A doctor endorsing a specific brand of medicine based on their expertise and experience.
Pathos
Definition: Appeal to emotions and feelings.
Example: A charity commercial showing starving children to evoke sympathy and encourage donations.
Logos
Definition: Appeal to logic, reason, and evidence.
Example: Statistics showing the benefits of a new product compared to its competitors.
ot only reflect her Indigenous roots but also capture the complex interplay of love, pain, and resilience in the face of adversity. Through these literary devices, she vividly portrays the protagonist's world, deeply embedded in cultural heritage and personal struggle.
Write brief summary notes on the event (include relevant dates or other statistics )and how this moment/ event impacted the First Australians.
Forced to live on the fringes:
During assimilation, many First Nations people were forced to leave reserves which were reclaimed by governments for housing and mining.
It was difficult for First Nations people to find work in the towns and cities due to the racism in society.
They were often refused access to community venues and services (e.g. hospitals and pools).
This resulted them to be forced to live in poverty.
Stolen children:
The assimilation policies focused on children who were considered more adaptable to white society than adults.
First Nations children were forcibly removed from their families in this time of assimilation.
First Nations children were removed in 1910-1970 under policies. They are referred to as the Stolen Generations.
Children of mixed race were more vulnerable to removal, as it was thought they could be more easily assimilated into the white community due to lighter skin colour.
The policies of child removal left a legacy of trauma and loss that continues to affect First Nations communities, families and individuals.
Contradictory logic:
Assimilation failed its aim of improving the life of First Nations people.
It expected First Nations people to take responsibility for becoming the same as white people - yet the First Nations people were never given the same rights/opportunities.
Regardless of efforts, First Nations people weren’t accepted as equals in society, and were still considered the inferior race.
This belief undermined the objectives of the assimilation policy and led to its failure.
The impact that the assimilation policies left, still impacts the First Nations communities today.
Analyse the use of voice to create setting in the passage
In the passage, the setting of a dysfunctional urban city is created through Mays point of view and Aunty Joyce’s dialogue.
The revealing of May’s point of view of being a fearful outsider is created through her intimidated tone and her visual imagery given through her fragmented language. Aunty Joyce’s dialogue outlines her representation for May through the use of vernacular language.
May’s change from “she” to “we” in “she pulled back the dirty lace curtain; we looked out on to the cement and tar”, shows the intimidation in her tone and her transitioning from being an outsider to one of them.
May’s point of view of the shallow and poor living standards is created through the use of fragmented language in “rubble edging fences, rubbish clogging gutters…”
In the opening chapter of Tara June Winch's text, the language choices poignantly reflect her background and the context of her Indigenous Australian heritage. Winch, who is of Wiradjuri descent, weaves symbolism and vivid imagery into her narrative to illustrate the protagonist’s deep connection to nature and the spiritual world, while also portraying the harsh realities of her upbringing.
The passage "Mum’s sad emerald eyes bled through her black canvas and tortured willow hair" uses striking imagery to convey the mother's anguish and emotional burden. The "sad emerald eyes" symbolize the mother's hidden pain and the "tortured willow hair" evokes a sense of suffering and entanglement, reflective of Winch's own experiences with familial and cultural struggles.
Winch’s use of nature symbolism is evident when she describes, "Mungi was his name, the first turtle ever... the ancestor spirit... decided to let him live by reincarnation." This reference to Mungi, the turtle, symbolizes resilience and continuity within Indigenous culture, suggesting a deep respect for ancestral stories and natural elements. The turtle’s story mirrors the protagonist’s own journey of endurance and connection to her heritage.
Imagery is further used to depict the protagonist’s world, as seen in "the stingray’s overturned body looked more like a caricature of a ghost than a sleeping raincoat." This vivid description not only brings the scene to life but also symbolizes the intrusion of death and the protagonist’s confrontation with loss and mortality. The stingray, “exhausted, like a fat man in a tight suit after a greedy meal,” represents the struggle and the release that follows death, paralleling the mother’s own release from her mental and emotional struggles.
The line "Her soft hands overturned and exhausted" poignantly illustrates the culmination of the mother's pain and the release of her burdens, connecting the physical exhaustion with emotional and spiritual liberation. The final scene, where "tears fell into the ice-cream container, dripping off my eyelashes and sliding over my cheeks," employs powerful imagery to highlight the protagonist's grief and the indelible impact of her mother's suffering.
Winch's language choices, rich with symbolism and imagery, n
**if not personal, use inclusive language.
**if personal response, use exclusive language.
Perspective + purpose:
3 consecutive opening sentences:
What the text presents.
What text supports.
[key word] allows for…
Refer to contextual factors.
Open to first point.
Provide evidence.
State what is in the quote: “This quote shows that…”.
Reinforce by explaining: “By having the text include/have…reinforces…”.
Relate back to key purpose.
Summarise.
Restate evidence and explanation in very short sentences.
Relate back to question; what and how.
**Just think about art for this one
Visual language features:
Introduction.
What visual language features create what?
Talk about each point (visual language feature) stated in introduction.
expand on topics by using language features. E.g. composition → foreground to juxtaposition, emphasises…
Explain the effect (just make up a meaning)
Summarise.
Restate evidence and explanation in very short sentences.
Relate back to question; what and how.
Composing a narrative, following a prompt
Take a moment to think about the prompt.
Keep it simple.
Focus on one character.
Similes and metaphors.
STICK TO THE GENRE
General Essay Structure
Introduction
What creates what.
State how.
Then why those things were used to create the overall goal.
Body Paragraphs
Elaborate each ‘how’.
Evidence?
Analyse evidence, link back to question.
Conclusion
Summarise the whole thing.
Restate evidence/explanation and how it relates to the question.
Discuss how language features are used to represent a character in Text 1:
Armadale by Wilkie Collins.
The room was decorated in the gaudy continental fashion, and warm sunlight was shining in joyously. Cupids and flowers were painted on the ceiling; bright ribbons looped up the white window-curtains; a smart gilt clock ticked on a velvet-covered mantelpiece; mirrors gleamed on the walls, and flowers in all the colours of the rainbow speckled the carpet. In the midst of the finery, and the glitter, and the light, lay the paralysed ma, with his wandering eyes, and his lifeless lower face - his head propped high with many pillows; his helpless hands laid out over the bed-clothes like the hand of a corpse. By the bed head stood, grim, and old, and silent, the shrivelled black nurse; and on the counter-pane, between his father’s outspread hands, lay the child, in his little white outfit, absorbed in the enjoyment of a new toy. When the door opened, and Mrs. Armadale led the way in, the boy was tossing his plaything - a soldier on horseback - backward and forward over the helpless hands on either side of him; and the father’s wandering eyes were following the toy to and from, with a stealthy and ceaseless vigilance - a vigilance as of a caged animal, terrible to see.
Response:
‘Armadale’, a novel written by Wilkie Collins features a character who is revealed by language features. Language features including juxtaposition, and similes work in conjunction to develop and represent a character. We are able to interpret that this character is paralysed, and is progressing towards the end of his life on this bed.
The similes in the text reveal that he is extremely ill. It describes him, stating, “…his helpless hands laid out over the bed-clothes like the hands of a corpse”. This quote infers that he is a living corpse; that physically he looks like death has already taken him. The simile creates contrast between his hands and hands of a lifeless body, this emphasises his paralysis and vulnerability.
Additionally, the juxtaposition of life and death in the room further characterises him. The lavish decorations “…the Cupids, flowers, gilt clock, and mirrors…”, contrast sharply with his suffering. The room’s beauty in the form of decorations represents the contrast to his deteriorating condition, highlighting the tragedy of his situation.
In summary, through similes, and juxtaposition, the language features in this passage reveal a character who is bed-ridden, paralyzed, vulnerable, and trapped in a room that contrasts with his suffering. The imagery paints a melancholic picture of his reality.
Exam question:
Text one is an extract from a memoir entitled The Archipelago of Us: A search for our identity in Australia’s most remote territories, by Renee Pettitt-Schipp.
He has stepped onto the
boardwalk and begun to walk beneath the towering Tahitian chestnuts, where the
frigatebirds are beginning to call with a long, low whooooop, whooooop, whooooop.
Massom points to the canopy above his head.
‘Monk?’ he begins to ask.
‘Monkeys? No, they are birds,’ I laugh, and flap my arms to show what I
mean. Massom turns in a circle where he is standing, he raises his arms, raises them
high and wide, turning and turning, laughing and looking at us in disbelief. He is
exhilarated, standing in the jungle, with the wild sounds of the world all around
him. I watch him, it is breathtaking, incredible, something I had started to believe
was not possible. He turns and whoops and laughs and all I want to do is watch, to
be steeped with the wonder of this moment, watching everything in Massom spark
and glow.
Soon we arrive at a juncture, where we turn left and begin the ascent up the
gentle slopes of the hill alongside the clear, wide stream making its unhurried way
to the sea. The climb becomes steeper, the air filling with the acrid smell of
moisture and leaves. Sweating into the humidity, we finally reach the last platform,
and as we do I take my final step up and then desperately try to stop myself
bursting into laughter. For there at the pinnacle is not only the thunderous wall of
water cascading between lush ferns and netting the light, but at its base sits a
beautiful young woman with long, blonde hair in a bright pink bikini.
I can’t help but look briefly at Massom and Erfan. They both look comple tely
stunned, but seem to be trying not to stare, so I busy myself with my bag and give
them a moment. I wonder how far this scene must feel to the men from the
concrete and steel of their respective detention centres. Soon the girl and her older
friend dress and leave, and we all go and stand with our feet in the flow, reach out
and cup the water, feel the spray from the fall form a moist haze around our faces.
We explore upstream, where the water pools wide and dark beneath tall trees, and
where yet more blue and red crabs hide amongst elaborate roots. Years later,
Massom will write to me from Melbourne, will tell me this was one of the best
moments in his life.
Explain how language choices represent new experiences in Text One.
Language choices assist in developing and representing new experiences in the text. The character’s new experiences in The Archipelago of Us: A search for our identity, are built up by the author’s use of language features such as dialogue, descriptive language, and the rule of three. This extract depicts the story of which the characters adventure in the Australian outdoors, gaining new experiences as they go.
Dialogue within the text creates a hint that these characters have never experienced certain events before. Evidently in the text a character says, “Monkeys? No, they are birds’, I laughed”. This quote was a response to another character, questioning the sound of which he is curious about. From this, we are able to interpret that the character, assuming what the sound was, had never heard the sound before, hence why he is questioning it. This gave way to the response of the character quoted previously, to explain that they are not monkeys, but birds. This piece of dialogue reveals that a character has never experienced this before, has never heard this bird’s call or has ever known of a bird that could make a noise like this which leads him to question it out of curiosity, making this a new experience.
The rule of three helps the audience in imagining the characters’ views and experiences in this text. In the extract, the author states, “feet in the flow, reaching out to cup the water, feeling the spray from the fall…”, this quote describes the characters’ experiences, using the rule of three. The use of the rule of three in the description of the text creates a flow in words which embodies the description of the flowing water which allows the audience to experience the scene. The use of sensory language suggests that this is a new experience. They reach out to feel the flowing water as if they are doing something they have never done before. The use of the rule of three accompanied by sensory language, reveals that their experience is a new experience.
Descriptive language allows the audience to further immerse themselves in the new experiences of the characters within the extract. It is evident in the text
In short, just think of analysing in art (⌐■_■)
Cinematography: Documentaries often feature diverse cinematographic techniques to capture real-life events, including handheld camera work for a sense of immediacy, long shots to establish context, and close-ups to convey emotion or detail.
Lighting: Lighting in documentaries varies depending on the subject matter and setting, with natural lighting preferred for authenticity but artificial lighting used when necessary to ensure visibility and clarity.
Composition: Documentary compositions are carefully crafted to frame subjects within their environment, convey mood and atmosphere, and guide the viewer's attention to key elements or details.
Visual Effects: While documentaries typically prioritize authenticity, visual effects may be used sparingly to enhance storytelling or illustrate abstract concepts through techniques such as animation or motion graphics.
Editing: Documentary editing plays a crucial role in shaping the narrative, pacing, and flow of information, with techniques such as cuts, fades, and montages used to condense time, convey meaning, and create emotional impact.
Interviews: Documentaries often feature interviews with subjects relevant to the film's topic, providing first-hand accounts, insights, and perspectives.
Archival Footage: Documentaries frequently incorporate archival footage, photographs, and audio recordings to provide historical context and support the narrative.
Voiceover Narration: Many documentaries utilize voiceover narration to guide the audience through the story, provide context, and offer commentary on the subject matter.
Verité Style: Some documentaries employ a verité style, capturing real-life events and interactions as they unfold, often without scripted dialogue or staged scenes.
Expert Commentary: Documentaries may include commentary from experts, scholars, or individuals with specialized knowledge related to the film's subject, offering analysis and interpretation.
Montage Sequences: Montage sequences are commonly used in documentaries to condense information, convey a passage of time, or evoke an emotional response through rapid editing and juxtaposition of images and sounds.
Reenactments: In certain documentaries, reenactments or dramatizations may be used to recreate key events or illustrate historical moments when archival footage is unavailable.
Graphics and Text: Documentaries often utilize on-screen graphics, text overlays, and visual aids such as maps, charts, and diagrams to provide additional information and enhance understanding.
Musical Score: Music plays a significant role in documentaries, setting the tone, evoking emotions, and enhancing the storytelling through carefully selected compositions and soundtracks.
Interviews with Filmmakers: Some documentaries include interviews or behind-the-scenes footage with the filmmakers themselves, offering insights into their creative process, motivations, and challenges encountered during production.
Viewpoint: The particular stance, angle, or standpoint from which a character or narrator perceives and interprets events, issues, or situations in a text.
Context: The circumstances, background information, and setting that shape and influence the character's or narrator's viewpoint, providing a framework for understanding their perspective within the narrative.
Representation: How the character or narrator presents themselves and their community, whether accurately reflecting their experiences and perspectives.
Tone: The attitude or emotional expression conveyed through the character's or narrator's voice, which can range from serious and somber to light-hearted and humorous.
Language: The specific words, phrases, and expressions used by the character or narrator, which can reveal their cultural background, level of education, and emotional state.
Values: The beliefs, principles, and priorities expressed or implied by the character or narrator, which can shape their actions, decisions, and interactions with others.
Just make something up if you can’t remember…
1. Phurba Tashi Sherpa Mendewa: "For us, climbing Everest is part of our life. It's a way to support our families, but it also holds a deep spiritual meaning."
2. Ngima Tsering Sherpa: "We are the backbone of the mountain. Without Sherpas, there is no expedition."
3. Russell Brice: "Climbing Everest has become a very commercial business, but we must never forget the Sherpas who make it all possible."
4. Ed Douglas (Journalist): "The mountain is sacred to the Sherpas. For them, it's not just a challenge or a prize, it's a deity."
5. Ang Tshering Lama: "Every year we come here, every year we face the risks. We do it because this is our home and this is our life."
6. Dawa Tashi Sherpa: "When we are on the mountain, we feel the presence of the spirits. We always seek their blessings for a safe journey."
7. Norbu Tenzing Norgay: "Everest is a cash cow for many, but the Sherpas pay the price."
8. Karma Gyalzen Sherpa: "The mountain doesn't discriminate. It challenges everyone equally, but the Sherpas bear the greatest burden."
9. Pemba Sherpa: "For the world, Everest is a dream. For us, it's a livelihood filled with danger and sacrifice."
10. Dorje Khatri: "Climate change is impacting the Himalayas. Our glaciers are melting, and this affects our lives and the mountain we revere."
Teacher’s example:
T – the documentary opens which montages of the Nepalese mountains accompanied by mysterious and harmonious music. Peedom’s (director) choices to use conventions of the poetic documentary style.
E – Poetic style works through evoking feeling rather than making a point
E – the visuals include multiple images of the Nepalese mountains in fast motion, including wide angle shots of the snow swirling the music is unfamiliar and suspenseful
E - A combination of these stylistic features works to influence a wester viewer to feel displaced in this environment. I am an outsider discovering the world. That is not like anything we have experienced before. Since I know from the title that this documentary will focus on the experiences of the sherpas, I am immediately influenced to understand that this is a documentary which I will come to understand the culture and experiences of the sherpa.
L - Because I am a westerner this mysterious and fearful mood foreshadows that I am about to uncover of social injustice plotted to indigenous people
Another example:
T - The documentary introduces Phurba, a seasoned Sherpa guide, through a series of interviews and footage showcasing his role in leading Everest expeditions. Peedom's directorial choice to emphasize Phurba's perspective establishes him as a representative voice of the Sherpa community, providing insights into their experiences and challenges in the Everest industry.
E - By foregrounding Phurba's perspective, the documentary adopts a personal and authoritative approach, allowing viewers to witness firsthand the daily realities and complexities of Sherpa life. The visuals include shots of Phurba navigating treacherous mountain terrain with confidence and precision, while the interviews capture his candid reflections on the cultural significance of mountaineering for the Sherpas.
E - These stylistic choices work in tandem to humanize Phurba's experience and elevate his voice as a spokesperson for the Sherpa community. The juxtaposition of awe-inspiring mountain landscapes with intimate glimpses into Phurba's life and work serves to underscore the Sherpas' deep connection to the Himalayas and their crucial role in supporting Everest expeditions.
A - As a viewer, I am drawn into Phurba's story, feeling a sense of admiration for his resilience and dedication to his craft. The documentary's focus on Phurba's perspective prompts me to empathize with the Sherpa community's struggles and aspirations, deepening my understanding of their cultural heritage and values.
L - As a Western audience member, Phurba's narrative serves as a window into the Sherpa world, offering a nuanced portrayal of their traditions, beliefs, and contributions to mountaineering. The personalization of Phurba's journey invites me to reflect on the power dynamics and ethical considerations inherent in the Everest industry, prompting me to engage critically with issues of representation and exploitation in adventure tourism.
Random notes:
The conclusion of expository style texts do not conclude everything nicely. It is a call to action so it may leave the audience with thoughts and questions.
(Teacher’s random notes/consider it irrelevant but just take a scan through))
Evaluate is to make a judgement about the effectiveness.
She achieves her purpose by…
Make a judgement on possible endings
Journalist’s reflective as voice-over against panning long-shots of the mountains.
Effect?
Response?
Peedom’s choice to start a closing sequence with a journalists reflective voice against a panning long-shot of the mountains directs the audience’s response towards the environmental aspect of the documentary which leads onto the the culture and spirituality of the Sherpas, as a sense of serenity is expressed within the shot.
Tenzing’s Story is then shown again with the voice-over of his son, to remind us of the past, creating a metaphorical bridge between the present and the past, it creates a connection between the audience of today and the Sherpas of the past.
The close-up shots induce a sense of familiarity and closeness.
The Sherpas haven’t changed throughout the documentary, only the viewer has.
“They’ve got control of climbing the mountain” - This is a good choice because the mountains were a sanctuary for the Sherpas; now they have gained back full control of the mountain, controlling when or who climbs.
“Our father wanted to get us the best education possible so we could have other careers not climbing” - values of family and education are expressed.
A montage of spiritual conditions accommodated with calming music - it doesn’t seem as if they are struggling financially, contrasting from Bryce’s voice.
Phurba’s voice is reflective - he is proposing a future without foreigners, a land’s return to the indigenous.
“If I had climbed, I would have climbed 22 times” - he would’ve broken a world record. A sense of Irony.
“But if I go to the mountain and my family is not happy, then there is no benefit in earning that money” - Phurba (Sherpas) has completely rejected capitalism.
We end off with black screen, informational text. The motivation was to remind us of the government (capitalists), and not just end off with the ‘happy’ life of the Sherpas. We are reminded that the industry will continue.
“Russel Brice continues to campaign to make climbing safer on Everest” - makes Brice look good, to pay some homage after how he was portrayed. It makes us think, complicates the situation and reminds us about how complex this concern may be. Brice has a very strong parallel; we thought he would be gone but he comes back.
“One year later, Just as the 2015 Everest climbing season was getting underway, a major earthquake hit Nepal, killing 19 people including 10 Sherpas. - despite everything they did, and went through, people still die.
“In memory of all the Sherpas who have died working on mount Everest”
Ethos
Definition: Appeal to ethics, credibility, and trustworthiness.
Example: A doctor endorsing a specific brand of medicine based on their expertise and experience.
Pathos
Definition: Appeal to emotions and feelings.
Example: A charity commercial showing starving children to evoke sympathy and encourage donations.
Logos
Definition: Appeal to logic, reason, and evidence.
Example: Statistics showing the benefits of a new product compared to its competitors.
ot only reflect her Indigenous roots but also capture the complex interplay of love, pain, and resilience in the face of adversity. Through these literary devices, she vividly portrays the protagonist's world, deeply embedded in cultural heritage and personal struggle.
Write brief summary notes on the event (include relevant dates or other statistics )and how this moment/ event impacted the First Australians.
Forced to live on the fringes:
During assimilation, many First Nations people were forced to leave reserves which were reclaimed by governments for housing and mining.
It was difficult for First Nations people to find work in the towns and cities due to the racism in society.
They were often refused access to community venues and services (e.g. hospitals and pools).
This resulted them to be forced to live in poverty.
Stolen children:
The assimilation policies focused on children who were considered more adaptable to white society than adults.
First Nations children were forcibly removed from their families in this time of assimilation.
First Nations children were removed in 1910-1970 under policies. They are referred to as the Stolen Generations.
Children of mixed race were more vulnerable to removal, as it was thought they could be more easily assimilated into the white community due to lighter skin colour.
The policies of child removal left a legacy of trauma and loss that continues to affect First Nations communities, families and individuals.
Contradictory logic:
Assimilation failed its aim of improving the life of First Nations people.
It expected First Nations people to take responsibility for becoming the same as white people - yet the First Nations people were never given the same rights/opportunities.
Regardless of efforts, First Nations people weren’t accepted as equals in society, and were still considered the inferior race.
This belief undermined the objectives of the assimilation policy and led to its failure.
The impact that the assimilation policies left, still impacts the First Nations communities today.
Analyse the use of voice to create setting in the passage
In the passage, the setting of a dysfunctional urban city is created through Mays point of view and Aunty Joyce’s dialogue.
The revealing of May’s point of view of being a fearful outsider is created through her intimidated tone and her visual imagery given through her fragmented language. Aunty Joyce’s dialogue outlines her representation for May through the use of vernacular language.
May’s change from “she” to “we” in “she pulled back the dirty lace curtain; we looked out on to the cement and tar”, shows the intimidation in her tone and her transitioning from being an outsider to one of them.
May’s point of view of the shallow and poor living standards is created through the use of fragmented language in “rubble edging fences, rubbish clogging gutters…”
In the opening chapter of Tara June Winch's text, the language choices poignantly reflect her background and the context of her Indigenous Australian heritage. Winch, who is of Wiradjuri descent, weaves symbolism and vivid imagery into her narrative to illustrate the protagonist’s deep connection to nature and the spiritual world, while also portraying the harsh realities of her upbringing.
The passage "Mum’s sad emerald eyes bled through her black canvas and tortured willow hair" uses striking imagery to convey the mother's anguish and emotional burden. The "sad emerald eyes" symbolize the mother's hidden pain and the "tortured willow hair" evokes a sense of suffering and entanglement, reflective of Winch's own experiences with familial and cultural struggles.
Winch’s use of nature symbolism is evident when she describes, "Mungi was his name, the first turtle ever... the ancestor spirit... decided to let him live by reincarnation." This reference to Mungi, the turtle, symbolizes resilience and continuity within Indigenous culture, suggesting a deep respect for ancestral stories and natural elements. The turtle’s story mirrors the protagonist’s own journey of endurance and connection to her heritage.
Imagery is further used to depict the protagonist’s world, as seen in "the stingray’s overturned body looked more like a caricature of a ghost than a sleeping raincoat." This vivid description not only brings the scene to life but also symbolizes the intrusion of death and the protagonist’s confrontation with loss and mortality. The stingray, “exhausted, like a fat man in a tight suit after a greedy meal,” represents the struggle and the release that follows death, paralleling the mother’s own release from her mental and emotional struggles.
The line "Her soft hands overturned and exhausted" poignantly illustrates the culmination of the mother's pain and the release of her burdens, connecting the physical exhaustion with emotional and spiritual liberation. The final scene, where "tears fell into the ice-cream container, dripping off my eyelashes and sliding over my cheeks," employs powerful imagery to highlight the protagonist's grief and the indelible impact of her mother's suffering.
Winch's language choices, rich with symbolism and imagery, n
