Post on 12-Apr-2017
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Unit overview: English Stage 3 – Visual Literacy – Engadine Community of Schools Linking Literature Project
Name of unit: Picture this! Writers: Hugh Hogan (Engadine West Public School), Tiffany Wirth, Patricia Dyszel (Engadine Public School), Cindy Burton
(Yarrawarrah Public School), William Webeck (Marton Public School), Rebecca Duncan, Lisa Edwards (Engadine High School)
Concept/s
Code and convention: composers use text structures and language/visual features intentionally to create texts
Connotation, imagery and symbolism: rich meanings are produced when responders recognise and engage with imagery and symbolism
Representation: may be realistic or unrealistic, and influence reader response. Representation varies with text form and media.
Point of view: the composer chooses the way a story is told and the language/ images appropriate to their purpose and media
Point of view: the composer creates a relationship with the responder, and can evoke empathy or indifference
Texts:
Examples: Film trailers: ‘Brave’ trailer, Bridge to Terabithia trailer, The Boy in the Striped Pyjamas, Harry Potter- The Philosopher's Stone, Frozen -’Let it go’ sequence, Hugo trailer Video resources: Story starters on Youtube, Video on point of view Picture books - ‘Beneath the surface’ - Gary Crew; ‘The Watertower’ - Gary Crew; ‘Old Pig’ - Margaret Wild; ‘John Brown, Rose and the Midnight Cat’; ‘Grandad’s Gifts’ - Paul Jennings; ‘The Island’ - Armin Greder;' Piggybook'- Anthony Browne; Scenes from films: Paper Planes Short films: Short of the Week website Website resource: 21st Century Learning Snapshot,
Rationale/focus This unit is designed to be delivered in Term 4 of Year 6, in preparation for Year 7. In Stage 4, students complete a visual literacy unit on Narrative and Representation, and this unit covers preparatory concepts and skills of visual literacy.
Students will be exposed to a variety of visual texts - picture books and film – to develop understanding of code and convention, imagery and symbolism, representation and point of view in text in Stage 3, to enable deeper analysis and engagement moving into Stage 4.
Focus questions:
● How do composers explore ideas about our world by combining words, sound and images?
● How is point of view represented in texts? How can we identify point of view?
● How can ideas be represented symbolically?
● How does the composer’s representation affect our response to the text?
● How does context influence the ideas of texts? - Higher order/extension question
Assessment:
1. Formative: Representation - Create a visual text - film, series of images, picture book - choice - peer and self-assessment with criteria 2. Summative: Writing - structured analysis using PETAL paragraphs
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Focus Outcomes: Stage 3
Stage 3 - Speaking and listening: communicates effectively for a variety of audiences and purposes using increasingly challenging topics, ideas, issues and language forms and features
● use appropriate metalanguage to identify and describe relationships between and among texts
● use metalanguage to describe the effects of ideas, text structures and language features on particular audiences (ACELT1795)
● participate in and contribute to discussions, clarifying and interrogating ideas, developing and supporting arguments, sharing and evaluating information, experiences and opinions
Stage 3 - Writing and representing: composes, edits and presents well-structured and coherent texts
● understand and appreciate the way texts are shaped through exploring a range of language forms and features and ideas
● identify and explore underlying themes and central storylines in imaginative texts
● understand and use the key elements of planning, composing, reviewing and publishing in order to meet the increasing demands of topic, audience and language
● plan, draft and publish imaginative, informative and persuasive texts, choosing and experimenting with text structures, language features, images and digital resources appropriate
to purpose and audience (ACELY1704, ACELY1714)
● compose imaginative and informative texts that show evidence of developed ideas
Stage 3 - Reading and viewing: uses an integrated range of skills, strategies and knowledge to read, view and comprehend a wide range of texts in different media and technologies
● understand how texts vary in purpose, structure and topic as well as the degree of formality (ACELA1504)
● compare texts including media texts that represent ideas and events in different ways, explaining the effects of the different approaches (ACELY1708)
● analyse how text structures and language features work together to meet the purpose of a text (ACELY1711)
● recognise the effect of multimedia elements, eg film techniques, animation, voice-overs, sound effects, framing, close-ups
● interpret picture books, comic strips and sequences of digital images which do not contain written text
● recognise how aspects of personal perspective influence responses to text
● discuss aspects of literature that influence personal choice in reading
Stage 3 - Responding and composing: discusses how language is used to achieve a widening range of purposes for a widening range of audiences and contexts
● identify and discuss how own texts have been structured to achieve their purpose and discuss ways of using conventions of language to shape readers' and viewers' understanding
of texts
● discuss how the intended audience, structure and context of an extended range of texts influence responses to texts
● analyse strategies authors use to influence readers (ACELY1801)
● discuss the conventions of a range of complex texts, eg act and stage directions in plays, literary devices in poems and stories, layout conventions in print and digital texts
● recognise the techniques used by writers to position a reader and influence their point of view
● identify and use a variety of strategies to present information and opinions across a range of texts
Stage 3 - Thinking imaginatively, creatively, interpretively and critically: thinks imaginatively, creatively, interpretively and critically about information and ideas and identifies connections
between texts when responding to and composing texts
● recognise and explain creative language features in imaginative, informative and persuasive texts that contribute to engagement and meaning
● interpret events, situations and characters in texts
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● explain own preferences for a particular interpretation of a text, referring to text details and own knowledge and experience
● think critically about aspects of texts such as ideas and events
● identify, describe, and discuss similarities and differences between texts, including those by the same author or illustrator, and evaluate characteristics that define an author's
individual style
● compare how composers and illustrators make stories exciting, moving and absorbing to hold readers' interest
● understand how authors often innovate on text structures and play with language features to achieve particular aesthetic, humorous and persuasive purposes and effects
Stage 3 - Expressing themselves: identifies and considers how different viewpoints of their world, including aspects of culture, are represented in texts
● recognise that ideas in literary texts can be conveyed from different viewpoints, which can lead to different kinds of interpretations and responses
● identify aspects of literary texts that convey details or information about particular social, cultural and historical contexts (ACELT1608)
● recognise how the use of language and visual features can depict cultural assumptions in texts
● identify and describe the representation of people, places and events in film and the media
● respond to short films, documentaries and multimedia texts that express familiar and new aspects of the broader world
Stage 3 - Reflecting on learning: recognises, reflects on and assesses their strengths as a learner
● reflect on own learning achievements against specific criteria
● discuss how the reader or viewer can enjoy and discover a wide range of literary experiences through texts
● develop criteria for assessing their own and others' presentations
● describe how skills in speaking, listening, reading/viewing and writing/representing contribute to language development
Learning Processes
Understanding Students interpret and explain how language forms and features communicate ideas
Engaging Personally Students appreciate and explain the effect of stylistic features of texts on meaning and audience
Connecting Students compare different aspects of language and texts to understand the effects of different choices and contexts
Engaging Critically Students recognise that texts can influence and position the reader
Experimenting Students experiment with text structures and language features to adapt and interpret texts and experience in a range of modes and media
Reflecting Students identify, use and discuss text processing strategies and assess the development of their own skills against agreed criteria.They consider the benefits of collaboration with their peers and reflect on their learning achievements
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Learning Sequence:
Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Representation:
Representations
influence response
Point of view:
The composer chooses
the way a story is told
and the language
appropriate to that
purpose in different
modes and media
recognise the
techniques used by
writers to position a
reader and influence
their point of view
recognise the effect
of multimedia
elements, eg film
techniques,
animation, voice-
overs, sound effects,
framing, close-ups
use appropriate
metalanguage to
identify and describe
relationships
between and among
texts
THE HOOK - ENGAGE in film
Use a film trailer or several trailers to hook students and connect to prior knowledge and learning.
You might like to use the SEE-THINK-WONDER template – RESOURCE 1.
Discuss in pairs then share with class:
● How does the trailer make you feel? ● What mood or atmosphere was created? How do you think the director did this?
(Think about your lesson with the Engadine High teachers.) Do you remember any film techniques?
● What did it make you think about? ● What questions do you have about the film? ● What is your favourite film and why?
Learning goals for the unit:
Provide students with the unit’s learning goals (RESOURCE 2) using these focus questions. By the end of this unit, you will be able to answer:
● How do composers explore ideas about our world by combining words, sound and images?
● How is point of view represented in texts and how can we identify point of view?
● How can ideas be represented symbolically?
● What impact do composers have on responders? How do they influence us?
● How does context influence the ideas of texts? – this is a higher order/extension question
Engagement in
discussion
Connecting
Student responses –
written and verbal
Engaging personally
Connecting
Learning goals
checklist
Understanding
Reflecting
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Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Point of view:
The composer
positions the reader to
respond to a text in a
particular way
Code and convention:
Choices of language
and design have subtle
differences and effects
use metalanguage to
describe the effects
of ideas, text
structures and
language features on
particular audiences
(ACELT1795)
Introduce picture books:
Pull out a selection of picture books for students to look at in pairs. In pairs, students read and
discuss one book. Pair -> Share.
Use the visible thinking table (RESOURCE 3) to answer the following questions:
● What do you see on the front cover? Does it interest you? Why/why not? ● What do you think the author wants you to feel and/or think about? ● Did you enjoy the text? Why/why not? ● How did the author use words to tell the story? (Rhyme, imagery etc) ● How much do you rely on words to comprehend the story? (Think about font, size, positioning, lack of words etc) ● How did the illustrator use images to communicate ideas to the responder (you)? ● What do you think the overall message is? Who is it aimed at? ● Do you think that picture books are only meant for young children? Why/why not?
● ● Show students same trailer from beginning of the lesson (with sound only, projector turned off)
and discuss the overall importance of images in a text.
Responses on visible
thinking table
Engagement in pair
and class discussion
Understanding
Engaging Personally
Engaging Critically
Visual language:
From English K-10 Syllabus–Glossary1
Language that contributes to the meaning of an image or the visual components of a multimodal
text and are selected from a range of visual features like placement, salience, framing,
representation of action or reaction, shot size, social distance and camera angle. Visual language
can also include elements such as symbol, colour, scene and frame composition, setting and
landscape, lighting and the use of editing.
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Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Introducing Visual Literacy Techniques:
Use a variety of picture books, visual images etc to explicitly teach the elements of visual literacy.
Students create a glossary of terms, either in their books, with a poster or digital portfolio, which
they add to as they learn, summarising each element and giving an example.
Suggested Resources:
A collection of wordless picture books, or picture books with strong visual storylines such as those
by:
• David Wiesner
• Jeannie Baker
• Bob Graham
• Anthony Browne
• Shaun Tan
• Rod Clement
• Chris Van Allsburg
Teacher Background Information:
Pedagogy- educational beliefs about language and how students learn related to visual literacy.
1. Children perceive many meanings, sometimes without being conscious of what or how they
perceive.
2. Discussion or modelling will make students more aware of their own readings.
3. The vocabulary/language of reporting frequently needs development and support.
4. Skill in the use of vocabulary and language in one context will flow to other contexts.
5. Our students are immersed in visual media and have many perceptions which have been
reinforced since infancy.
6. Many visual symbols are as obvious to them as words are.
7. Some symbolisms, eg slow motion in a film to represent speed- may never have been verbalised.
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Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Representation:
Information and ideas
can be represented
symbolically
recognise how the
use of language
and visual
features can
depict cultural
assumptions in texts
● understand and
appreciate the way
texts are shaped
through exploring a
range of language
forms and features and
ideas
● identify and explore
underlying themes and
central storylines in
imaginative texts
● interpret picture
books, comic strips and
sequences of digital
images which do not
contain written text
8. It is possible to share interpretations of visuals.
9. Individual ‘readings’ can sometimes change the group’s interpretation.
10. Students today have high level visual literacies.
11. Critical literacy with visuals can be liberating.
Sequence 1:
Viewing a picture storybook
This learning activity will allow teachers to identify prior learning. Students will use their own
language to interpret the images, before being introduced to the metalaguage of visual literacy.
Sharing the text (reading/viewing and interpreting)
During shared reading discuss the idea that we can ‘read’ in different ways.
1. Preview the cover of a wordless picture book, eg Tuesday (David Wiesner), or a text of
your own choice, activating students’ prior knowledge and inviting predictions.
Adjustments: Provide sentence starters for student responses, eg ‘I can see …’ or provide a word
bank of items for students to identify elements of the cover.
2. Explain that David Wiesner is both the author and illustrator of this picture book. He uses
very few words in this text, which may be a little puzzling at first. David Wiesner invites
you, as the reader, to be a problem solver. You need to use clues from the pictures, as well
as using your own imagination to create your own interpretation of the text. Discuss why
David Wiesner may have adopted this approach, considering the intended audience and
purpose of the text.
3. Share the text with students, pausing to think aloud and model thinking about the text
using a ‘See Think, Wonder’ strategy, or a ‘Say Something’ strategy. These thinking
Engagement in
discussion
Engaging Personally
Engaging Critically
Visible thinking
routines
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Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Point of view:
Point of view can
create a more
personal or distant
relationship with the
responder, evoking
degrees of empathy or
indifference
● discuss the
conventions of a range
of complex texts, eg
act and stage
directions in plays,
literary devices in
poems and stories,
layout conventions in
print and digital texts
● identify, describe, and
discuss similarities and
differences between
texts, including those
by the same author or
illustrator, and
evaluate characteristics
that define an author's
individual style
recognise how
aspects of personal
perspective influence
responses to text
routines support students to attend closely to details in the visuals, stimulate their
curiosity and encourage thoughtful interpretations.
4. After modelling, pause at various openings and invite students to turn and talk with a
partner about their observations, their questions, predictions and wonderings. Encourage
students to justify their thinking using evidence from the illustrations.
Adjustments: Provide scaffolds and sentence beginnings, eg I wonder why …, I can see that …, I
think she is happy because …
5. After sharing, invite students to work in pairs and choose a double page opening of a
picture book to complete the response page (RESOURCE 4). Allow students to use their
own language to discuss what they can see. After the next sequence, students will repeat
this activity, using their new knowledge of visual literacy metalanguage to complete the
response.
6. Students will work independently or with peers to analyse a picture and share their
thinking about. Model completing the response page handout and then students work to
show:
what they noticed – the effect the picture has on the viewer/story
how the illustrator achieved the effects.
Sequence 2: Analysing techniques
Resources:
Visual Literacy Pics PDF
Quality picture books
Magazines
Visual Features PPosters
Student workbooks
iPads – Book Creator App, Explain Everything (optional but recommended)
Engaging Personally
Engaging Critically
Group discussion
Understanding
Engaging Personally
Engaging Critically
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Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Code and convention:
The codes and
conventions of visual
texts provide the
foundations for
innovation
use metalanguage to
describe the effects
of ideas, text
structures and
language features on
particular audiences
1. Revise the purpose of a glossary. Tell students that they will be creating their own glossary of
terms relating to visual literacy. Prepare a space in the classroom where you can add student
examples and create a class glossary (or record it in a notebook file).
2. Discuss with students how composers arrange the pictures just as carefully as an author places
words in a sentence. Each illustration is carefully planned using a range of visual techniques or
codes. Use some examples from the last lesson to compare the language students used to
describe the pictures. Draw out the idea that we need a common language to discuss visual
literacy, and that there are terms and definitions we need to learn so that we can talk about
visual texts.
3. Create a picture walk. Using the Visual Features Posters on display in your room, students walk
around the room to view each poster and make brief notes in their books or digitally about
each visual feature – building their glossary. Visual features covered are:
Gaze: where is the character looking? Offer = no eye contact. Demand = eye contact.
Scale and Size: Size = small or large, scale = comparative size.
Colour: use of colour or lack of colour
Tone: Lighter or darker shading, depth of colour
Salience: the object or figure that draws our attention and begins the reading path
Angles: front, side, high, low, eye-level
Vectors: lines in an image – horizontal, vertical, diagonal, curved
Symbols and motifs: object or visual elements (like colour) that represent bigger ideas
Positioning: Placement of landscapes, figures and objects on the page
Shapes and contours: straight or curved? Shapes of objects and figures
Framing and borders: lines around/over images, or absence of frames/borders
4. During several shared reading sessions explore the visuals and techniques used by the
illustrator to create meaning. You may like to use the Visual Literacy Pics PDF or a range of
picture books or magazines.
Connecting
Connecting
Understanding
Glossary notes
Understanding
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Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Representation:
Representations of the
wold may be realistic
or non-realistic
Point of view:
Composer is different
to character and
narrator, and positions
the responder to think
in particular ways
understand how texts
vary in purpose,
structure and topic as
well as the degree of
formality
(ACELA1504)
recognise that ideas
in literary texts can
be conveyed from
different viewpoints,
which can lead to
different kinds of
interpretations and
responses
identify aspects of
literary texts that
convey details or
information about
particular social,
cultural and historical
contexts (ACELT1608)
5. In the initial exploration of the pictures, focus on familiar aspects of the visuals. Discuss how
composers establish the setting and the characters. Encourage students to justify their
responses using evidence from the text, for example:
• Where is the story taking place?
• Is it real or imaginary? What makes you think that?
• Who are the characters in the story?
• How do their facial expressions help us understand how the characters are feeling?
6. Use a text and introduce a few of the visual literacy terms appropriate to that text. For
example, explore the artistic choices/techniques the illustrator uses to create the moods and
emotions and the key themes of the story such as use of colour, light and shadow, and size, eg
How does the use of the colour build the mood of the story? What do you notice about the
size of the frogs on different illustrations? How does it make you feel about the events?
Adjustments: Choose appropriate techniques and questions to match students’ abilities.
7. Discuss ways the illustrator tells the story from a particular point of view. Explore the use of
angles to convey relationships between the characters (point of view) or develop relationships
between the viewer and the action (spectator/participant), eg:
Look carefully at an illustration and describe whether you, the reader, are close up or far
away.
Why do you think the writer has placed you there?
Can you find any examples of a character that is close to you or is looking directly at you?
(A demand for response)
Can you compare it with another illustration in which you feel more distant from the
action
What do you notice about the character’s gaze?
Individual and pair
responses, class
discussion
Understanding
Engaging Personally
Engaging Critically
Student responses in
books
Engaging Personally
Connecting
Engaging Critically
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Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Representation:
Information and ideas
may be represented
symbolically
Representations are
created using the
codes and conventions
of visual literacy
Code and convention:
Choices of visual
features affect
understanding
understand and use
the key elements of
planning, composing,
reviewing and
publishing in order to
meet the increasing
demands of topic,
audience and
language
● reflect on own learning
achievements against
specific criteria
think critically about
aspects of texts such
as ideas and events
Creative Task: Applying the learning
Prepare a collection of picture books, magazines etc. You will need as many books as you have
groups (eg. 15 books for 15 pairs, or less for larger groups).
Using their own glossaries and the Visual Features Posters around the room, students are to rotate
around the books, finding an example of each visual feature in the text they have been given.
Students could take a photo of the image they find and use an app (Book Creator, Explain
Everything) to make a visual glossary with an example. If no iPads are available, students could
draw their own images with all of the terms defined and examples written in.
Example made using book creator:
Students create a
digital record (or
visual
representation) of
examples of visual
features in a visual
glossary
Understanding
Engaging Personally
Connecting
Experimenting
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Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Point of view:
A narrator may be
inside or outside the
story
Point of view positions
us to respond in a
particular way
Representation:
Representations
influence response
Representations may
be adapted for
different audiences
participate in and
contribute to
discussions, clarifying
and interrogating
ideas, developing and
supporting
arguments, sharing
and evaluating
information,
experiences and
opinions
compare texts
including media texts
that represent ideas
and events in
different ways,
explaining the effects
of the different
approaches
(ACELY1708)
identify and describe
the representation of
people, places and
events in film and the
media
Higher order thinking: extending the learning – point of view/representation
Choose a text with a clear message/intent. Discuss the intent of the composer and the way the visual elements have been chosen to express their perspective. Talk about which perspectives are not being represented. Eg, book promoting environment, showing cultural perspective
For example, read the students the picture book 'Rabbits' by Shaun Tan. How does the author represent the character and why? How does this create point of view for the responder? Whose point of view is not included? What is the intent of the author? Have students refer to their Glossary of Visual Literacy terms. In pairs find pictures from 'Rabbits' that highlight the terms and share with the class.
Analysing Film:
1. In this sequence, students explore film technique, learn the correct terminology, and analyse
how meaning is made in film. They create a storyboard and experiment with still and moving
images to create an effect. You could use any film trailer or excerpt for this sequence.
The trailer and text from ‘Bridge to Terabithia’ is used here as an example.
RESOURCES:
Bridge to Terabithia film trailer
Bridge to Terabithia excerpt – Leslie dies
Bridge to Terabithia excerpt (swing scene) from novel
Written responses
and engagement in
discussion
Understanding
Connecting
Engaging Critically
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Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Code and Convention:
Codes and
conventions vary in
different media, and
for different audiences
and purposes
Representation:
Representation in
each mode operates
according to its own
codes and conventions
analyse how text
structures and
language features
work together to
meet the purpose of
a text (ACELY1711)
discuss how the
intended audience,
structure and context
of an extended range
of texts influence
responses to texts
compare how
composers and
illustrators make
stories exciting,
moving and
absorbing to hold
readers' interest
compose imaginative
and informative texts
that show evidence
of developed ideas
explain own
preferences for a
particular
interpretation of a
Sequence:
View the trailer of 'Bridge to Terabithia' and discuss with the students whose eyes the story is being portrayed through? How is the director doing this?
Show students the Youtube video showing Leslie’s death and compare and contrast it with the written version in the novel. In the film how did the director create the visual images of loss and empathy? How does this compare or contrast with the text? Which do you prefer? Why?
View the Camera Angles and Shots video on Youtube and complete the activity sheet (Resource 5).
If students need it, you may like to reinforce this learning with the ‘Camera Techniques’ Powerpoint and then complete the ‘Defining Camera Shots’ sheet (Resource 6).
Examine the trailer again with a focus on code and convention, imagery/symbolism and representation. What aspects of the trailer indicate there may be fantasy elements to this text?
2. Understanding and connecting: View the film trailer for Brave, and ask students to identify a range of shots, sounds, text, etc. Use Resource 7.
3. Engaging critically:
Brainstorm as a class names of movies where there is good vs. evil shown. Record on the board for reference. Select a couple of examples from the board and ask students to consider (a) what qualities in a character make them likeable (eg kind, caring, generous, brave etc) and; (b) what qualities in a character make them unlikable (eg bully, selfish, greedy, nasty).
Teacher guided task- visual representation (artwork, digital or other form) of 'good' and 'bad' emotions/feelings. Students to create for visual display in the classroom.
Engagement in
discussion
Understanding
Engaging Personally
Connecting
Engaging Critically
Written responses
Engaging Critically
Visual
representation
Experimenting
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Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Connotation, imagery
and symbolism:
Richer meanings are
produced when
responders recognise
and engage with
imagery
Representation:
Information and ideas
may be represented
symbolically
text, referring to text
details and own
knowledge and
experience
interpret events,
situations and
characters in texts
respond to short films, documentaries and multimedia texts that express familiar and new aspects of the broader world
plan, draft and
publish imaginative,
informative and
persuasive texts,
choosing and
experimenting with
text structures,
language features,
images and digital
resources
appropriate to
purpose and
audience
View opening sequence of 'Paper Planes' and discuss the two main characters that are portrayed in the clip. Which character do you like? Which character do you not like? Why/why not?
o What values or ideas are expressed in the text?
o How have you been influenced or positioned in the text by the director to feel a certain way about the characters?
o How do we feel when we see a character like Dylan overcome obstacles and challenges? Why are we drawn to characters like Dylan? What is the composer's purpose? (To make us empathise, rejoice, feel a sense of satisfaction, reflect on our own lives etc)
o Why do we dislike Jason? (Eg the nature of bullying, and the impact it may have upon individuals who are affected).
Experimenting:
Students make their own story board based on the idea – the bully. Discuss how power and relationships might be portrayed through different techniques. Use either written version/sketches or technology to create this. Students need to display several techniques that represent a variety of elements taught across the week. (Visual Literacy techniques)
AND/OR
Students will experiment using iPads to show how point of view can be conveyed through film techniques. In small groups students will create and experiment with images using a variety of camera shots, camera angles, lighting, colour, soundtrack, sound effects and special effects. Present these to peers and discuss how the point of view changes according to the images used. Could be made into an iMovie representing the negative impacts of bullying.
AND/OR
Students will begin creating their own narrative in pairs, using both a 'good' and 'bad' character.
AND/OR
Engagement in
discussion
Engaging Personally
Connecting
Engaging Critically
Storyboard
Understanding
Engaging Personally
Experimenting
Still shots or film
Understanding
Connecting
Engaging Critically
Experimenting
Narrative
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Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Point of view:
Point of view can
create a more
personal or distant
relationship with the
responder, evoking
degrees of empathy or
indifference
identify and discuss
how own texts have
been structured to
achieve their purpose
and discuss ways of
using conventions of
language to shape
readers' and viewers'
understanding of
texts
develop criteria for
assessing their own
and others'
presentations
recognise and explain
creative language
features in
imaginative,
informative and
persuasive texts that
contribute to
engagement and
meaning
Students use Storybird to visually represent their narrative and present their Storybird/movie to the class. The audience will be reminded of their responsibility to listen carefully and consider how characters evoke certain emotions and why the composers of this story have purposely represented characters in this way:
o What have students been asked to think about as a result of reading/viewing this text? Audience will record once sentence in their English books for each presentation, with a focus on how it made them feel. Teacher may provide a proforma.
Reflecting:
Class discussion on Storybird presentations, go around room and each student comment on one thing they enjoyed about this task.
Students reflect on the idea of representation and how composers are able to manipulate the responder, positioning them to feel a certain way. They should write in a journal format, with particular focus on what they learnt in each lesson.
Digital picturebook /
film
Understanding
Engaging Personally
Connecting
Engaging Critically
Experimenting
Reflecting
Journal responses
16
Concepts Outcomes Lesson Sequence Evidence AND
Learning Processes
Code and Convention:
Visual texts
communicate with
their own codes and
conventions to
express information
and ideas
Representation:
Information and ideas
may be represented
symbolically
analyse strategies
authors use to
influence readers
(ACELY1801)
identify and use a
variety of strategies
to present
information and
opinions across a
range of texts
understand how
authors often
innovate on text
structures and play
with language
features to achieve
particular aesthetic,
humorous and
persuasive purposes
and
ASSESSMENT TASK
Introduce the PETAL response strategy (Resource 8). Model the construction of the paragraph.
Choose an image (or series of images – may include text) from a picture book, a film still shot or an artwork. How has the composer used visual features to convey meaning in the image?
Use the following prompt questions: ● What is happening in this image? ● What ideas are explored? ● How has it been constructed to influence the responder?
EXAMPLE: This image is a drawing of a piece of pizza and some chips seeming to fly towards a dog. The composer has constructed it to appeal in a humorous way to the responder and suggest that the dog is hungry for pizza. To make this image humorous, the composer has drawn the dog with a silly look on its face. Its eyes are wide open and it is licking its lips. The artist suggests the pizza is moving through the use of blurred lines. There are strong vectors in the edges of the pizza, which combine with the gaze of the dog’s eyes to draw your eyes. The responder is positioned so that it looks like the pizza is flying away from the responder, towards the dog’s head, which is positioned in the just off centre in the frame. Overall, these elements create an effective image which makes the reader smile and wonder what’s going to happen next.
Written analysis
Understanding
Engaging Personally
Engaging Critically
Experimenting