Stage 6 Reference Booklet by Jeanette Lans

Stage 6 English Reference Booklet This booklet incorporates the content of English in Stages 4 & 5 to assist your study of the Stage 6 Course. Make it your first point of reference when deconstructing and analysing texts.

Email: jlans@parra.catholic.edu.au

A GLOSSARY OF KEY WORDS Syllabus outcomes, objectives, performance bands and examination questions have key words that state what students are expected to be able to do. A glossary of key words has been developed to help provide a common language and consistent meaning in the Higher School Certificate documents. Using the glossary will help teachers and students understand what is expected in responses to examinations and assessment tasks. Account

Account for: state reasons for, report on. Give an account of: narrate a series of events or transactions

Analyse

Identify components and the relationship between them; draw out and relate implications

Apply

Use, utilise, employ in a particular situation

Appreciate

Make a judgement about the value of

Assess

Make a judgment of value, quality, outcomes, results or size

Calculate

Ascertain/determine from given facts, figures or information

Clarify

Make clear or plain

Classify

Arrange or include in classes/categories

Compare

Show how things are similar or different

Construct

Make; build; put together items or arguments

Contrast

Show how things are different or opposite

Critically (analysis/evaluate)

Add a degree or level of accuracy depth, knowledge and understanding, logic, questioning, reflection and quality to (analyse/evaluation)

Deduce

Draw conclusions

Define

State meaning and identify essential qualities

Demonstrate

Show by example

Describe

Provide characteristics and features

Discuss

Identify issues and provide points for and/or against

Distinguish

Recognise or note/indicate as being distinct or different from; to note differences between

Evaluate

Make a judgement based on criteria; determine the value of

Examine

Inquire into

Explain

Relate cause and effect; make the relationships between things evident; provide why and/or how

Extract

Choose relevant and/or appropriate details

Extrapolate

Infer from what is known

Identify

Recognise and name

Interpret

Draw meaning from

Investigate

Plan, inquire into and draw conclusions about

Justify

Support an argument or conclusion

Outline

Sketch in general terms; indicate the main features of

Predict

Suggest what may happen based on available information

Propose

Put forward (for example a point of view, idea, argument, suggestion) for consideration or action

Recall

Present remembered ideas, facts or experiences

Recommend

Provide reasons in favour

Recount

Retell a series of events

Summarise

Express, concisely, the relevant details

Synthesise

Putting together various elements to make a whole

Nominalisation The process of changing verbs (processes), adjectives (describers) and adverbs (circumstances) into nouns (participants) to make writing objective and formal. It was so silent it was frightening. The silence gave rise to fear. He was punished because he refused to participate. His refusal to participate led to his punishment. Many people move to the cities to find work. A reason for population movement is employment. Hitler invaded Poland in 1939 which marked the start of WWII in Europe. Hitlerâ&#x20AC;&#x2122;s 1939 invasion of Poland marked the start of WWII in Europe.

NOMINALISATION WORKSHEET -ment disagree involve -al refuse survive approve propose arrive remove deny

-ance perform resist appear disappear assist

miscellaneous weigh complain apologise forgive lose

convert analyse fail inflate safe save praise sleep ban prove add your own nominalisation examples

area of Study & CLOSE STUDY OF TEXTS In examining a text, consider the following: 1. Structures of texts:        

What form (text type) has the composer chosen? How has the composer decided to begin their text? How has the composer developed their ideas from this point? How has the composer brought their text to a conclusion? narrative voice: first, second or third person; single/multiple narrators time frame; multiple time frames; pace cyclical, episodic, flashback etc.

2. Language forms and stylistic features         

sentence construction and variety; paragraphing, and punctuation that is striking or unusual and effective figurative language (imagery, similes, metaphors, personification) tone and mood repetition; symbolism; allusion sound devices (alliteration, assonance, onomatopoeia, sibilance) word choices rhetorical devices visual or filmic techniques etc.

3. Meaning 

Perspective communicated by the composer and how effectively it has been created (or shaped) by choices about structures and language forms and features so as to develop a conceptual thesis/narrative elements/textual integrity.

IN SIMPLE TERMS YOU NEED TO CONSIDER:

What is being said? What does it mean? How is it being said? How effectively has it been said? What lessons/conclusions can we draw from the text?

Area of Study – Belonging/journeys PAPER 1 SECTION 1 STYLE QUESTIONS

Sample questions: What? ‘What’ type questions require you to identify one or more of the following: the type of belonging/journeys represented (group, community, society, place, time etc) the purpose of the text the audience of the text the concept of belonging/journeys being represented (motherhood/thesis statement)

1-2 marks

1. What is the purpose of this text? 2. Identify the emotions/feelings about belonging/journeys represented in this text. 3. Provide one reason for [a particular aspect of the text related to belonging/journeys]. 4. Explore the concept of belonging/journeys represented in this text. 5. Comment on the significance of one aspect of belonging/journeys represented in the text. 6. Identify what sort of belonging/journeys is being represented in the text. 7. In your own words, describe the composer’s response to the notion of belonging/journeys as described in the text. 8. Explain the composer’s opinion about belonging/journeys represented in this text. 9. Describe ONE aspect of belonging/journeys represented in this text. 10. Discuss the problems/ideas conveyed by the composer about belonging/journeys in the text.

Sample questions: How? ‘How’ type questions require you to show how meaning is created by analysing, explaining, commenting on and identifying techniques used by the composer. You should: identify the technique/s give examples of the technique/s show how the composer uses the technique/s to represent their ideas about belonging/journeys

2-4 marks

1. How is belonging/journeys represented in this text? 2. Explain the techniques used to convey a particular emotion or create a particular affect about belonging/journeys. 3. How does the composer communicate a particular attitude about belonging/journeys in this text? 4. Choose two techniques in the text and explain how they support an idea about belonging/journeys. 5. How does the [particular part of the text] shape your understanding of belonging/journeys? 6. Explain how the composer’s feelings about belonging/journeys are represented in the text. 7. Evaluate the effectiveness of [particular techniques used by the composer] to represent an aspect of belonging/journeys. 8. analyse how the composer uses visual and/or language techniques to convey a perspective on belonging/journeys. 9. How has the composer used visual and/or language techniques to express an attitude to belonging/journeys? 10. Compare/contrast the representation of belonging/journeys in [any two aspects] of the text.

Sample questions: Synthesis ‘Synthesis’ type questions requires you to analyse different perspectives on belonging/journeys from different texts so you can put together a theory/thesis about belonging/journeys. This last question could require you to write in a particular text type, like a speech or a debate, or it could ask you to simply form an argument of some kind. Often you are required to compare and contrast how belonging/journeys is represented in selected texts and analyse the effectiveness of the composer in creating meaning.

1. You are to take part in a debate to argue a case about belonging/journeys. The topic is ‘Belonging/journeys is essential for wellbeing’. Choose ONE or TWO texts and use the text/s to argue for or against the topic. 2. Analyse how any TWO of the texts emphasis the difficulties/benefits of belonging/journeys to a group. 3. Select and evaluate what you consider to be the TWO most effective texts in conveying ideas about belonging/journeys. Support your response with close reference to both texts. 4. Which TWO of these texts do you find the most effective in exploring the concept of belonging/journeys? Justify your answer making detailed reference to the two texts you have chosen. 5. Each text deals with a different perspective on belonging/journeys. Choose TWO texts. Who is the intended audience for each text? How does each composer target that audience? 6. Compare and contrast the ways the concept of belong is explored in TWO texts. In your discussion, comment on the form and features of both texts. 7. Explore the ways TWO texts give a perspective on the concept of belonging/journeys. 8. All three texts convey a particular attitude towards belonging/journeys. Which text most effectively communicates this attitude? Refer to the visual and language features of all three texts in your answer. 9. Evaluate the suitability of each of the THREE texts for inclusion in a new Board of Studies Stimulus Booklet entitled Belonging/journeys.

4-6 marks Sample Section I (15 marks) Text One (a) Identify ONE impression of belonging/journeys that is located in this text. (b) Explain ONE technique that has been used to convey this impression.

Marks 1 2

Text Two (c) Identify TWO key ideas that express the composer’s feelings about belonging/journeys. 2 (d) Explain how the composer communicates his feelings about belonging/journeys. 2 Text Three (e) Analyse how language has been used by the composer to express their attitudes about belonging/journeys? Texts One, Two and Three (f) Which TWO of these texts do you find the most effective in exploring the complexity of belonging/journeys? Justify your response by making detailed reference to the TWO texts you have selected.

WHAT KINDS OF CRITICAL QUESTIONS CAN WE ASK OF TEXTS? These questions can be asked of most spoken, written, visual, multimedia and performance texts. They encourage students to question beliefs that are often taken for granted. Critical Literacy Questions Textual purpose(s) 1) What is this text about? How do we know? 2) Who would be most likely to read and/or view this text and why? 3) Why are we reading and/or viewing this text? 4) What does the composer of the text want us to know? Textual structures and features 5) What are the structures and features of the text? 6) What sort of genre does the text belong to? 7) What do the images suggest? 8) What do the words suggest? 9) What kind of language is used in the text? Construction of characters 10) How are children, teenagers or adults constructed in this text? 11) How have stereotypes or archetypes been constructed in this text? 12) Why has the composer of the text represented the characters in a particular way? Gaps and silences 13) Are there ‘gaps’ and ‘silences’ in the text? 14) Who is missing from the text? 15) What has been left out of the text? 16) What questions about itself does the text not raise? Power and interest 17) In whose interest is the text? 18) Who benefits from the text? 19) Is the text fair? 20) What knowledge does the reader/viewer need to bring to this text in order to understand it? 21) Which positions, voices and interests are at play in the text? 22) How is the reader or viewer positioned in relation to the composer of the text? 23) How does the text depict age, gender and/or cultural groups? 24) Whose views are excluded or privileged in the text? 25) Who is allowed to speak? Who is quoted? 26) Why is the text written the way it is? Whose view: whose reality? 27) What view of the world is the text presenting? 28) What kinds of social realities does the text portray? 29) How does the text construct a version of reality? 30) What is real in the text? 31) How would the text be different if it were told in another time, place or culture? Interrogating the composer 32) What kind of person, and with what interests and values, composed the text? 33) What view of the world and values does the composer of the text assume that the reader/viewer holds? How do we know? Multiple meanings 34) What different interpretations of the text are possible? 35) How do contextual factors influence how the text is interpreted? 36) How does the text mean? 37) How else could the text have been written? 38) How does the text rely on intertextuality to create its meaning?

Glossary of Terms Term

Definition

Example/s

allegory

fable such as the Hare and the Tortoise

alliteration

a story or situation which stands for another situation, and the whole story is symbolic. repetition of consonant sounds at the beginning of words

allusion

use of a reference to another story or text, either directly or by implication

analogy antagonist

a comparison demonstrating the similarities between to things, people, situations. It can be an extended metaphor or simile that continues to provide all the reasons why. traditionally defined as an opponent

Achilles heel means a weak spot. This is a reference to the story of Achilles, the Greek warrior allegories, fables, parables are examples of analogies used in narratives

anthropomorphism

The representation of animal characters with human characteristics

Mickey Mouse, Toad (Wind in the Willows)

antithesis

the opposite or contrast. Involves the balancing of one point of view against its opposite. repetition of vowel sounds within words

my soul soars; my body is grounded

caesura

the process of taking a text from one context and using it in another context, allowing new insights into the original text a pause within a line of verse

characterisation

the way in which a character is created and developed during a text

chronology

refers to the sequence of events related to time

Jane Austen’s Pride and Prejudice – Gurinda Chadra’s Bride and Prejudice to what was being said ... He was all hooks, my dad, and we were just the things he caught ... I can hear him now (extract from ‘The Tackle Box’ by Bruce Dawe) includes explanation as to background, physical appearance, personality, strengths/weaknesses, speech and thought linear, flashbacks

cliches colloquial

a phrase or expression which was once novel, but has been used so often that it lacks real meaning words and phrases that belong to everyday speech and conversation

love at first sight, deep and meaningful, more than meets the eye, believe it or not How’s things?

composer

the person who has created a text

composition connotations

the way that a whole visual text has been put together and the arrangement of elements within the text the feelings, emotions, subleties suggested by a word or phrase, as opposed to the word itself. The extra meanings that we (readers/receivers) of texts apply to words.

Artist – painting, cartoonist Author - literature consideration of what has been included and what has been left out

context

that which is happening in the world in which a text is composed, as well as in the world of the responder.

couplet

a two-line section of verse, often rhymed to make a rhyming couplet

deconstruction

the breaking down and analysis of a text

Father – formal relationship Dad – casual, close relationship Daddy – close, affectionate relationship with a young child Home – (a building) warmth, love, belonging, security Loser – an insulting term implying the person is hopeless social context = employment & intellectual status historical context = time period cultural context = nationality/ethnicity But if the while I think on thee, dear friend, All losses are restored and sorrows end. (Sonnet 30, Shakespeare) study of the parts of a text eg humour, music, setting

demand

Used in visual texts when a figure gazes directly out of the image at the reader demanding a response The basic or dictionary definition of a word (see connotation)

Loser: person or thing that loses (see connotation)

assonance appropriation

denotation dramatic irony

a situation where readers or viewers (and possibly some of the characters) have knowledge that is hidden from a character

emotive language

language specifically chosen to evoke and emotional response from the reader/listener. Commonly used in news media, advertising and persuasive texts. to identify with the feelings/emotions of another person

empathy enjambment

Enjambment is the continuation of a sentence or clause over a line-break. It is derived from the French word meaning “to straddle”.

euphemism

an expression to avoid directly saying something distasteful, unpleasant or confronting details of the language used in a text

features

form

language that goes beyond the basic, factual meaning of a word and makes a comparison that cannot be understood as really true – See similes, metaphors, personification the medium of production. Form can also describe the text type.

framing

the way that the subject is placed within a visual text

genre

categories of literature and films. Each genre has certain conventions that influence the composer’s choice of subject matter, structure and language. The responder’s understanding of the text is enhanced through knowledge/expectations of genre conventions. the deliberate use of exaggeration for effect

figurative language

hyperbole

slippery snake slithered

the bad guy or anti-hero

go home Joe

Romeo and Juliet by William Shakespeare. When Romeo finds Juliet in a drugged sleep, he assumes her to be dead and kills himself. Upon awakening to find her dead lover beside her, Juliet then kills herself. positive – gorgeous, delicate, lovely negative – vain, fastidious, easily damaged

Perchance shall dry your pities; but I have That honourable grief lodged here which burns Worse than tears drown. (Shakespeare – ‘A Winter’s Tale’) dying – kicked the bucket, croaked it redundancies – down sizing, genocide – ethnic cleansing prose – paragraph structure, sentence construction, punctuation, imagery, word choice poetry – stanza, imagery, rhyme, rhythm See simile, metaphor, personification spoken, written or visual. News report, drama script … science-fiction, westerns, drama, comedy, action, romance, crime …

Hot of the press! I’ve told you a thousand times!

Term

Definition

Example/s

icons

Don Bradman, Vegemite

imagery

someone or something that is widely recognised in society as encompassing valued ideals or attributes an expression or way of speaking which is peculiar to a language (local people understand it to mean something other than its literal translation) when words create a picture in the responder’s mind

intertextuality

the relationship between other texts

similar format or allusion to another text

irony

o a tone that indicates that the responder is not intended to read the text as it appears o dramatic irony o other types include contradictions

o sarcasm

idiom

He hit the sack. (He went to bed) crisp dry paddocks (gives reader a sense of the drought conditions)

o when the audience knows more that some or all of the characters o a vegetarian who worked at McDonalds, or a flight attendant who was afraid of enclosed spaces megs, gigs, bits (computer jargon) scoop, stop-press, by-line (journalese) if one needs to consider the concept of darkness one needs to first consider light (to deduce the absence of light) The moon was a ghostly galleon

jargon

technical language or words associated with a particular topic

juxtaposition metaphor

when two things are placed side-by-side in order to contrast them or draw attention to their differences or similarities a type of image where something is said to be something else

mise-en-scene

how a film/stage scene is physically constructed

mood

the ‘feeling’ or atmosphere of a setting or the text itself.

motif

a recurring subject or theme in a work of art, music or literature

narrator

the person or voice who tells the story

offer onomatopoeia

Visual texts in which the figure possesses an indirect gaze that does not address the reader directly. where the sound of the word itself imitates the sound being described

bang, thump, screech, clank, pop

paradox

a seemingly contradictory statement that contains a truth or opinion

you have got to be cruel to be kind

parody

an imitation or mimicking of a text, especially using exaggeration to create humour giving human qualities/characteristics to non-human objects the angle from which you view a text central or main character a play on words, often where the words have two meanings the movement/path of a viewer’s gaze around a visual text the type of language chosen for a particular purpose, audience and context.

The Chook from Snowy River (The Man from Snowy River)

personification perspective protagonist pun reading path register rhetorical questions rhyme rhythm salience satire sibilance simile slang structure symbol/symbolism tenses theme tone vector lines word choice

a question asked for which no answer is expected. It is expected that everyone will agree with the only one possible answer and point being made by the speaker the repetition of sound at the ends of words the combination of stressed and unstressed syllables in the way words are presented or said the prominence given to particular elements within the composition of an image. Typically it is certain visual techniques that create salience. where the text pokes fun at something for the purpose of criticising or ridiculing it. Cartoons are often satirical The presence of strongly emphasized s, sh, ch, z, j sounds in speech to create a hissing sound. Effect of slowing the reader. comparison of two objects/things using the words ‘like’ or ‘as’ language that is not really correct but created by particular groups in particular times the organisation of a text (layout or sequence) symbolism occurs when something in the text stands for something abstract, such as an emotion or idea refer to the time things occur central idea or argument the overall mood or attitude of the text. It is often a good indicator of the author’s purpose in composing the text the thing in a visual text that directs the eye of the responder around the text the deliberate selection of words used by a composer to produce a particular effect on the responder

includes use of lighting, props, costumes, placement of characters, choice of lenses, placement of cameras A canoe ride down rapids could be described very positively and convey an exhilarated mood. Alternatively the speed, and power of the water could be described in such a manner as to create a mood of fear and panic. the ‘splashes’ of colour that appear periodically in the dark setting of Gotham City in ‘Batman’ 1st person – the story is told by a character IN the story 3rd person limited – the story is told by an anonymous voice that reveals some aspects of the story 3rd person omniscient – the story is told by an anonymous voice that sees, hears and knows everything about all the characters and their emotions

the icy fingers of the wind looking over the shoulder of one character to see the face of another the hero or subject of the text Lifesavers advertisement – “Get a hole lot more out of life” difference in language used by a young person when speaking with their friends compared to speaking with their parents “Do we want our children using drugs?” “If Steven jumped off a bridge, would you?” fast and last, behind and kind I had written/ him a letter/ which I had for / want of better

Frontline satirises current affairs programs and their ethics, Strictly Ballroom satirises ballroom dancing "And the silken sad uncertain rustling of each purple curtain" Edgar Allen Poe Tom was as quick as a fox The diamond dazzled like the sun bikers, chicks narrative – orientation, complication, resolution linear or non-linear arrangements rose – beauty snake - evil past – John walked to school. present – John is walking to school future – John will walk to school death, money, love sarcastic, persuasive, serious, jovial a pointing finger directs the responder to the object, a line of people in a queue will direct the responder to the beginning/end of the queue. The horrific attack has left the residents in a fury.

appropriated text context conventions genre meaning in and through texts textual integrity

A text which has been taken from one context and translated into another. The process of translation allows new insights into the original text and emphasises contextual differences between the two The range of personal, social, historical, cultural and workplace conditions in which a text is responded to and composed. Accepted practices or features which help define textual forms and meaning. A category of text that can be recognised by specific aspects of its subject matter, form and language. This expression implies that meaning variously: resides in texts, is a dynamic process through which responders engage with texts, and 路 involves the incorporation of understanding gained through texts into a wider context. The unity of a text; its coherent use of form and language to produce an integrated whole in terms of meaning and value.

ELEMENTS OF ‘GOOD’ SPEECH MAKING ethos

Proof deriving from the character of the speaker himself/herself. The tone of the speech should establish the speaker’s virtue and moral worth. The emotions induced in the audience. The audience begins to feel that the speaker must be right and is won over to his side. Demonstration of the speaker’s position by means of argument such as syllogisms, examples and maxims.

pathos logos

Features of Speech repetition of words and phrases pause utterances straight pauses cliches jargon slang individualised choice of words truncated sentences immediacy of expression peculiarity of expression grammatical flexibility

Technique allusion

amplification (see repetition) anadiplosis

analogy

anaphora anastrophe

anecdote anti-climax

Manner of Speech           

tone pitch intonation pace volume stress rhythm length body language word choice sequencing of ideas

Persuasive Techniques Definition/Description reference to some text, person or event outside the present situation. The effect is to enrich the text by inviting the responder to consider more information than can be dealt with in detail

Example Biblical, political, philosophical, scientific and literary allusions are common, and in texts such as magazine and newspaper columns, allusions to popular culture are frequent.

repeating a word or expression while adding more detail to it, in order to emphasize what might otherwise be passed over repeats the last word of one phrase, clause, or sentence at or very near the beginning of the next

He showed a rather simple taste, a taste for good art, good food, and good friends.

any figure of speech based on comparison between two, unlike, objects or actions or processes repetition of a word at the beginning of consecutive phrases, clauses, or sentences arrangement by reversal of ordinary word order, usually confined to the transposition of two words only a short tale narrating an interesting or amusing biographical incident. abrupt decline (either deliberate or

comparison of the workings of the heart to a mechanical pump

I crave reward/ Reward me not unkindly; think on kindness/ Kindness becommeth those on high regard/ Regard with clemency a poor man’s blindness.

I have a dream ... She looked at the sky dark and menacing. (Normally: She looked at the dark and menacing sky.)

Die and endow a college… or a

antithesis

aphorism

aporia

asyndeton authorities

unintended) on the part of a speaker or writer from the dignity of idea which he appeared to be aiming at establishes a clear, contrasting relationship between two ideas by joining them together or juxtaposing them, often in parallel structure. a brief saying embodying a moral, a concise statement of a principle given in pointed words expresses doubt about an idea or conclusion

omission of conjunctions between words, phrases, or clauses Reference to institutions, experts, accepted bearers of power or thought

cat.

That's one small step for a man, one giant leap for mankind. --Neil Armstrong Lost time in never found again. Franklin I have never been able to decide whether I really approve of dress codes, because extremism seems to reign both with them and without and without them. They spent the day wondering, searching, thinking, understanding. For I have sworn before you and Almighty God the same solemn oath our forebears prescribed nearly a century and three-quarters ago.

cliché

a phrase or expression which was once novel, but has been used so often that it lacks real meaning

love at first sight, deep and meaningful, more than meets the eye, believe it or not

climax

consists of arranging words, clauses, or sentences in the order of increasing importance, weight, or emphasis

At 6:20 a.m. the ground began to heave. Windows rattled; then they broke. Objects started falling from shelves. Water heaters fell from their pedestals, tearing out plumbing. Outside, the road began to break up. Water mains and gas lines were wrenched apart, causing flooding and the danger of explosion. Office buildings began cracking; soon twenty, thirty, forty stories of concrete were diving at the helpless pedestrians panicking below.

circumlocution

use of many words to say something that can be said in a few words.

contrast/ juxtaposition

When two opposite viewpoints, ideas or concepts are placed close to each other for effect. choice of words packed with emotion can influence an audience for or against your ideas, to be with you or against you.

“The driveway was not unlike that military training device known as an obstacle course” is a circumlocution for “The driveway resembled an obstacle course.” Let us break the chains, shackles and nightmare of slavery and embrace each other in the dream of freedom.

emotive language

Imagine the perfect scene, not a care in the world, walking down the street hand in hand ... OR Their top lips quiver and sneer in unison like Elvis with a toothache. They see you and appear to scowl and grunt at each other and point at you accusingly.

enumeration

A speaker can connect and, at the same time, separate the points in the message by using connective words

Firstly, secondly, thirdly ... To begin with; Additionally; To sum up; Finally; In conclusion

euphemism

an expression to avoid directly saying something distasteful, unpleasant or confronting

dying – kicked the bucket, croaked it redundancies – down sizing,

genocide – ethnic cleansing

figurative language humour hyperbole/ exaggeration

similes, metaphors, personification amusing phrases, ideas trying to impress or influence by overstating a viewpoint, statement or idea

imagery

when words create a picture in the responder’s mind

crisp dry paddocks (gives reader a sense of the drought conditions)

inversion

the syntactic reversal of the normal order of the words and phrases in a sentence

Came the dawn ...

irony

o a tone that indicates that the responder is not intended to read the text as it appears o other types include contradictions

o sarcasm

Millions of students all over the world go home and rush eagerly into their homework in order to secure their future.

o a vegetarian who worked at McDonalds, or a flight attendant who was afraid of enclosed spaces I speak Spanish to God, Italian to women, French to men, and German to my horse. –Charles V

isocolon

repetition of phrases or clauses of equal length and corresponding grammatical structure

listing

In order to emphasise important points lists are often used

This law change will impact on town people and country people; rich people and poor people, maori, pacific islander, Asian and European; employed and unemployed alike

oxymoron

is a paradox reduced to two words, usually in an adjective-noun or adverb-adjective relationship, and is used for effect, complexity, emphasis, or wit

I do here make humbly bold to present them with a short account of themselves and their art.....--Jonathan Swift

quaesitio

questions

rogatio

string of questions in rapid succession for sake of emotional emphasis rhetorical question and answer

percontatio

enquiry in atone of bewilderment and allowing no satisfactory or easy reply

interrotatio

employing a question as a way of confirming or reinforcing the argument one has just made.

Why is there so much opposition to women remain in industry? The secret isn’t far to seek. It’s simply that they got paid less. Must they be made to return home? Are they going to take them out of the factory, the office, off the land? Then we must change many of our conventions. Why should a woman do all the work in the home? you have got to be cruel to be kind

paradox

a seemingly contradictory statement that contains a truth or opinion

parallelism

Several parts of a sentence or several sentences are expressed similarly to show that the ideas are equal in importance. Parallelism adds balance, rhythm and clarity to the sentence.

polysyndeton

They read and studied and wrote and the use of a conjunction between each word, phrase, or clause, the rhetorical effect drilled. I laughed and played and talked and flunked. is multiplicity, energetic enumeration.

Quickly and happily he walked around the corner to buy the book.

pronouns

pronouns to address the audience

Basically to address an audience as a group, but not necessarily to persuade them at this stage.

You are here tonight to witness the finals of the speech contest, where your sons and daughters face up to a great challenge.

pronouns to include (inclusive language)

Speakers want the audience to be on their side and agree with their statements/ideas

pronouns to exclude or to distance the audience

Sometimes we want to distance the audience from those who have differing arguments.

We came here tonight to choose our town symbol. We don't want a clock Alexandra has a clock. We don't want a humungus trout as our symbol - Rakaia and Turangi have megatrouts. Let us choose our White Horse - it's ours and always will be. So our elders want a curfew in Waimate. They think it is a good idea to have a curfew of 8 o'clock on a school night for people of our age. Let them have a curfew of 8 o'clock so that they can be out of the pubs and clubs and home with their families as well. They cause more harm in society than teenagers do.

punctuation

the use of punctuation to create an effect or shape a meaning

repetition

involves repeating a word or expression while adding more detail and emphasis

research/ statistics/ quotations

Reference to statistical information or references to well-known sources, such as the Bible, television, movies, proverbs and clichĂŠs: to link with our audience and our common, shared experiences. a question asked for effect, but not necessarily needing to be answered alliteration, assonance, onomatopoeia, sibilance, rhyme a logical argument in three parts - two premises and a conclusion which follows necessarily from them understating a viewpoint for effect.

rhetorical question sound devices syllogism

understatement

Apostrophe: shows possession and missing letters. Colon: causal connection, presaging lists and strong contrast. Comma: creating separation and pauses in sentences. Dash: significantly separated aside. Ellipsis...: for tension-building pause. Hyphen: connecting words together. Parentheses: conspiratorial aside. Period: ending sentences and in abbreviations. Quotation marks: showing speech and 'different' words. Semicolon: separation of related text and lists. Trust is an important concept in society. If you can't trust friends not to blab your secrets all over school; if you can't trust teachers not to blast you for something that he or she let someone away with yesterday; if parents can't trust you enough to let you borrow the car - how can you survive in the modern world.

Turn the other cheek; An eye for an eye, a tooth for a tooth. It's moments like these..... Make my day; I'll be back!; Straight from the horse's mouth

How do you stay healthy on a diet of chips and chocolate?

Firstly ... Secondly ... In conclusion The 1906 San Francisco earthquake interrupted business somewhat in the downtown area.

reading visual texts Angle

Body Language

Camera shot Caption Clothing Collage Colour

Composer Composition Direction/Eyeline

Focus Font

Framing

Light

Where has the photographer/artist placed the objects in the photo/frame? o A low angle (where we look up to the object) shows the subject as strong and powerful. o A high angle (where we look down to the object) shows submission and weakness. Posture, gesture and facial expression all tell about the way we are feeling and thinking. o What does the posture and gestures of people suggest? o What do the expressions reveal? o Is this meant to be seen as a happy moment? Serious moment? The distance from which a photograph is taken (close up, mid shot, long shot etc) o What has the distance of the shot allowed the viewer to comprehend? The descriptive, printed line of text that appears in a visual text Reflects our personality and can also be a symbol of the period, culture and status. Random gathering of visual images that have some relationship to a theme, issue or concept Colour can be used as symbols o white = innocence o black = death o soft pastel colours = female o dark primary or metallic colours = male The person who has created a text (Artist – painting, cartoonist; Author – literature; Film – director) The way that a whole visual text has been put together; the arrangement of elements within the text In what direction are the objects, figures, people etc facing? o Is it at the camera, past the camera or at a person or object in the photograph? o Where are the people looking? At the viewer? At each other? At something out of frame? o What do the eyelines suggest about what is considered important? The degree of sharpness or distinctiveness of an image (deep focus, shallow focus, soft focus etc) The design of the text that accompanies a visual text. o What is it about the design of the text that adds meaning to the visual text? o What mood/tone/emotion is suggested by the font? o How has colour been used in the font to add meaning? The way that the subject is placed within a visual text o How has the borders of the image defined the image? o What might appear outside the frame? Different lighting effects or colours can provide meaning: o Soft yellow light creates a halo effect and can suggest innocence. o The time of day can be established through lighting.

Objects Position

Settings

Shading

Size

Symbol/symbolism

Vector lines

Reading Path

Offer/Demand

Social Distance

Modality

Salience

Dutch Angle

Shapes or figures (people, animals, places or objects). Of the objects, shapes and figures in the frame can give meaning. o Who or what holds the centre of attention in the frame? o How does the position help make this the centre of attention? o How does the background contribute to the ideas you get from the photograph/frame? o How are people/objects placed in relationship to each other? o What is suggested by the placements? (Respect? Affection? Conflict? Unity?) Have symbolic significance and influence our response to a visual text. o Dry, country settings suggest ruggedness and hardship. o Soft, green, rural settings suggest tranquillity. The dark areas of an image that result from lack of lighting o What use has been made of shading? o What effect is gained from this shading? Of the object of interest. o Important objects are usually large and located in the foreground o Small objects that are in the background are considered less important. When something in the text sands for something abstract, such as an emotion or idea o rose = beauty, snake = evil The thing in a visual text that directs the eye of the viewer o A pointing finger directs the responder to the object o A line of people in a queue will direct the responder to the beginning/end of the queue. The reading path is the order that the responder makes their way through a visual text. The path begins with the most salient element and moves to other less salient elements. The mood of a visual image can be read from the offers and demands present in an image. o Demand: when direct connection is made with the responder (subject looking directly at responder) o Offer: when the responder is an invisible and detached onlooker not invited to participate with the subject directly. Positioning of objects within a visual text that indicate a ‘distance’ or connection by the subject/ object to the viewer/responder (key words: intimate, personal, longshots, close-ups, medium shots, far /close personal distance) The degree of ‘credibility’ found in a visual text o High modality: a high degree of truthfulness or reality (eg photograph) o Low modality: a low degree of truthfulness or reality (eg comic, cartoon) The ‘visual weight’ or importance allocated to elements within a visual text. Factors that CREATE salience include size, focus, colour, distance, placement (heavier salience if placed towards the top or left of an image). An image using a camera shot made with the camera leaned to one side and filming at a diagonal angle. The shot is used to either represent a sense of confusion or disorientation in a character on the screen, or to create that same sense for the viewer.

film short story feature articles painting, photos poem song website

text structure or layout imagery (language & visual language) word choice perspective narrative/dramatic/poetic/visual techniques camera angles  acting, casting sound  music editing  special effects narration  characterisation language techniques  themes structure language techniques  structure layout of article  graphics headline  photos visual images  composition colour  vectors texture  size poetic techniques such as rhyme, rhythm, word, choice, sound devices, imagery, similes, metaphors symbolism language and poetic techniques  tone musical setting language techniques  links visual images  interactive options sound

                       

PURPOSE To: entertain, inform, advertise, persuade, educate, convince, etc…. REGISTER = purpose + audience + context formal, informal, colloquial, slang, personal, expressive, transactional, poetic, etc … THEMES o o o o o o o o o

family love hate relationships trust journeys childhood adulthood survival

o o o o o o o o o

identity change work betrayal parents revenge peace age birth

o o o o o

sadness indifference anger humour politeness

o o o o o

sarcasm enthusiasm geniality friendliness frustration

o o o o o o o o o

personal-growth loneliness challenges gender good vs evil friendship pressure greed/desire power

o o o o o o o o o

honesty war education despair race enemies abuse hope ????

o o o o o

joy sincerity hostility affection passion

MOOD (look up those you are not familiar with) o o o o o

arrogance tenderness excitement fun emphatic

o o

modesty simplicity

o o

serious dignity

o o o o o o o o o o o

friendly frustrated jubilant serious adult condescending meek arrogant tender simple dignified

o o o o o o o o o o o

sad indifferent angry humorous informal polite modest sarcastic formal enthusiastic warm

precision

warmth

o o o o o o o o o o

sarcastic cynical joyful conversational childish sincere hostile blunt affectionate passionate

TONE (look up those you are not familiar with) o o o o o o o o o o

amiable jovial emphatic precise excited pleasant genial vague scientific considered

Language Features of Texts Verbal Features  Figurative language eg.                               

similes, metaphors, personification Imagery Alliteration/assonance/ onomatopoeia Verbs, nouns, adjectives, adverbs (word choice) Sentence structure Emotive language Punctuation Use of pronouns Repetition Idioms Hyperbole Imperative Pun Quotation Statement Rhetorical Question Rhyme Rhythm Motif/Symbols Allusion/association Dialogue Script Headings Voice-over Sound effects Tone of voice Music Silence Captions Point of View Syntax (sentence structure) Connotation

Visual Features                                   

Dominant Image Symbol Composition Contrast/juxtaposition Balance Graphics/pictures Font style Font size Spacing White space Shape Frames & borders Depth – background & foreground Proportion Camera shots/angles Colour Light & shadows Lines Vectors Allusion Sequence Structure Shot Camera movement Transitions Texture Mood Scenery Logos & graphics Facial expressions Body language Caption Layout Logos/icons Symbols

Effect of Text Features Text features can have many effects including:        

Attracting attention Making the text more appealing and interesting Highlighting one point or opinion in the text Making the text seem urgent Creating a sense of sympathy or empathy Getting the attention of a particular audience Starting something specific Persuading the audience about something.

A single feature can also have more than one effect. It is important that you can explain how features help create the meaning in a text. To do this, you need to: 1. 2. 3.

Identify the feature Identify the purpose (or effect required) Explain how the feature helps achieve the purpose

Helpful phrases:  The meaning of this text is …  The composer has used [verbal/visual feature] to …  Using the feature of [verbal/visual feature] helps the composer to …  The features support the purpose of the text by …  The [verbal/visual feature] draws the responder’s attention to …  The effect of this language feature is to …  We are made to … when the composer uses [verbal/visual feature] because …

text analysis prompts REGISTER = purpose + audience + context formal, informal, colloquial, slang, personal, expressive, transactional, poetic, etc … Formal

Level of Language

Explanation This is language that is correct and proper. It does not contain contractions. It is carefully composed.

Informal or Colloquial

This is how we speak in formal situations when we are watching what we say. It is also the level we use in essays. It is more elevated than colloquial language. This is everyday language. It is the level of language we use with our friends and family. It may include contractions and colloquialisms (every day expressions like, driving me crazy, over the moon…).

Slang

Examples The care was dilapidated and needing repair. Mum was very upset because she was extremely worried about us. “Can you not come?” The car was an old bomb. Mum was having a fit because she was worried sick about us.

It generally sounds far more chatty than formal language.

“Can’t you come?”

This is language that belongs to a set group in society. It is somewhat exclusive since, if you do not belong to the group, you are unlikely to understand it. Slang tends to be words and phrases rather than complete sentences.

In the 1960s and 1970s there was a lot of slang that is no longer common eg fuzz for police, bread for money or cat for a hip young man. One word that has moved into our colloquial vocabulary is cool. Its use is so widespread that it is no longer exclusive.

Some slang is that of young people and some belongs to interest groups like surfers, skaters etc. Slang tends to date quickly. It can actually move into everyday language if it becomes widespread and stays in our vocabulary.

More recently young people have used sick to mean ‘great’ and this is a form of slang.

The language of the text is [FORMAL, INFORMAL, COLLOQUIAL, SLANG] that is …. o understated o transactional o impartial o sophisticated o assertive o simplistic o biased o superficial o propagandistic o antagonistic o cynical o distorted o ironic o euphemistic o polite o rational o sarcastic o emphatic o enthusiastic o precise o jovial o genial o hostile o vague o affectionate o blunt o personal o passionate o expressive

o ambiguous o persuasive o serious o condescending o arrogant o dignified o indifferent o angry o humorous o scientific o considered o sincere o childish o poetic

This language/visual feature/technique …. o attracts/draws attention to … o shows that … o suggests that … o contrasts with … o implies … o adds appeal by … o reinforces … o enhances … o involves … o describes …

o tells the audience … o discusses … o highlights … o features … o creates a sense of … o suggests a sense of … o makes it more … o maximizes … o appeals to …

o emphasises … o promotes … o illustrates … o encourages … o creates empathy for … o encourages … o enriches … o involves readers in … o describes … o enriches …

PURPOSE INFORM

EXPLAIN

ENTERTAIN

LANGUAGE FEATURE o factual statements o technical language o ‘who, what, when, where, and how’ statements o factual statements o technical language o ‘why and how’ statements o o o o o

PURPOSE PERSUADE

INSTRUCT

poetic language adjectives subjective comments humour emotive terms

This text’s purpose and intention: o This language is designed to provoke … o The clearest illustration of the writer’s purpose is … o The writer has concentrated his/her effort on … o This text pinpoints … o This text provides a map of … o The writer probes … so that … o The writer’s purpose emerges as … o The writer is attempting to sway the reader by … o This text constructs a picture of … o The writer tends to … o Media attention is clearly focused on … o The argument advanced in the text is designed to.. o The text gives prominence to … o The intensity of the focus on … o The [feature] supports the purpose of the text to … Analysis and impact of text: o The composer has used [feature] to … o Using the feature of [ ] helps the composer to … o It reads rather like … o This text is a significant contribution to discussion because … o The [feature] draws the responder’s attention to … o The effect of this language feature is to … o We are made to … when the composer uses [feature] because …. o The power of this text stems from … o The coverage of the issue is extensive: …. o The content of this article is dominated by … o For the reader, this text produces …

LANGUAGE FEATURE o o o o o o o o

slogans facts and figures subjective comments emotive terms action words beginning statements ‘how’ statements sequences / steps technical language

….EDUCATE, CONVINCE, AMUSE, ADVERTISE ….

o o o o o o o o o o o o o o o

The writer means to fuel the debate on … The position we are asked to share is that … The article attempts to enlist the support of … This text provides a view that contradicts … The writer opts for … The writer stresses … The appealing imagery of the text is aimed at … This text describes interesting developments in … The writer questions … This text clearly reveals the writer’s view on … The writer enters the arena of discussion by … The writer’s attitude is exemplified by … The article endorses … The text attempts to mobilize support for … The meaning of this text is …

o Perhaps the most surprising/interest aspect of the text is … o The general pattern of language evokes … o A mood of … prevails in this text due to … o A reader’s response may well be to … o Visual interest in the text is created by … o The influence of this text lies in … o The text generates … o The perceptions of the reader are sharpened by … o This text increases the level of debate over … by … o This text accentuates … o The language features used attract … o This text sharply focuses attention on … o The text magnifies

THESAURUS / WORD BANK to use when writing about texts: THEMES/IDEAS concerns, issues, messages, concepts, notions, principles, motivations MAIN/ major, primary, central, pivotal, frontal, most intense, paramount, above all, key IMPORTANT LESS OBVIOUS underlying, hinted at, implied, more subtle, underneath, secondary, minor CERTAINLY clearly, definitely, absolutely, indeed, obviously, in fact, importantly, undoubtedly, without doubt, surely, distinctly SHOWS displays, emphasises, informs, presents, highlights, mirrors, acknowledges, reflects, reinformces, delineates, expounds, elucidates, outlines, exposes, relates THEREFORE consequently, hence, thus, since BUT yet, however, although, alternatively, whereas, nevertheless, nonetheless, while, admittedly, EXPECIALLY in particular, moreover, more specifically SIMILARLY likewise, again, once more, additionally OTHER ‘GOOD’ not surprisingly …, neither … nor, either … or, rather …, in summary …, not only … but also, both …, in conclusion EXPRESSIONS …, firstly …secondly … finally

An Analytical Framework for the Study of Texts (Based on the Analytical Frameworks for Artworks)

Texts have layers of meaning and can be understood in different ways. The Analytical Frameworks are applied to explore the range of ideas and meanings of a text. STRUCTURAL FRAMEWORK

SUBJECTIVE FRAMEWORK

CULTURAL FRAMEWORK

CRITICAL FRAMEWORK

Used to analyse how a text’s formal elements and principles contribute to its meanings and messages.

Used to interpret how a composer’s experiences, feelings, thinking and/or personal philosophy can be reflected in a text. It can also be used to gain awareness of the effect of the responder’s cultural background and experience on the interpretation of the text.

Used to identify the influences on a text of the time, place, purpose, cultural and political settings in which it was made. These influences may include historical, political, social, socio-economic, religious contexts as well as aspects of ethnicity and gender.

Used to interpret how contemporary ideas and issues influence the making, interpretation and analysis of texts from both the past and present.

Students should consider the following questions:

• form and structural analysis: How have the form and structural elements been applied by the composer and to what effect? How do these features contribute to the meanings and messages of the work?

• How do the social, political, cultural or religious contexts of the text contribute to its meaning?

With a focus on current ideas and issues, students should consider the following questions:

• technique: What techniques have been used? How do these techniques shape or affect interpretation? Is this due to inherent qualities of the subject matter or to the use of specific techniques by the composer? • style: What are the distinctive stylistic qualities of the text and how do they contribute to meaning? How does the text relate to other texts in a similar style or from the same historical period or cultural background? • symbols and metaphors: What aspects of the text contain symbolic meaning and use of metaphor?

• How is the text linked to people, places or experiences of personal significance to the composer such as their personal feelings, thinking, aspirations, beliefs, desires (conscious or subconscious) or preoccupations, or to memories, dreams or personal world of fantasy? • How does the experience and background of the responder affect the interpretation of the text? • What are the symbols or metaphors explored or utilised in the text?

• How have historical or contemporary events shaped the intention of the composer or our understanding of the text’s meaning? • How do gender values reflect the social context of the time the text was created? How do these values compare to the values of today? • How does the physical form of texts affect their interpretation? • How does the cultural background of the responder influence the interpretation of a text?

• How have contemporary ideas and issues challenged traditional understandings of texts and their significance? • How does the choice or presentation of subject matter or medium, materials and techniques reflect or challenge social traditions? • What is the impact of dynamic media applications and other emerging technologies on the responder? How do these textual forms differ from traditional ideas of consuming texts? • How might texts of the past take on new or different meanings, in the context of contemporary ideas and issues?

ANALYSIS FRAMEWORKS

STRUCTURAL FRAMEWORK

• form and structural analysis: How have the form and structural elements been applied by the composer and to what effect? How do these features contribute to the meanings and messages of the work? • technique: What techniques have been used? How do these techniques shape or affect interpretation? Is this due to inherent qualities of the subject matter or to the use of specific techniques by the composer? • style: What are the distinctive stylistic qualities of the text and how do they contribute to meaning? How does the text relate to other texts in a similar style or from the same historical period or cultural background? • symbols and metaphors: What aspects of the text contain symbolic meaning and use of metaphor?

SUBJECTIVE FRAMEWORK

•What relationship does the text have to the composer’s life and experiences? What evidence supports this reading? Has the composer used a specific signature features in creating the text that may reflect their personal philosophy and ideas? • How is the text linked to people, places or experiences of personal significance to the composer such as their personal feelings, thinking, aspirations, beliefs, desires (conscious or subconscious) or preoccupations, or to memories, dreams or personal world of fantasy? • How does the experience and background of the responder affect the interpretation of the text? • What are the symbols or metaphors explored or utilised in the text?

CULTURAL FRAMEWORK

• How do the social, political, cultural or religious contexts of the text contribute to its meaning? • How have historical or contemporary events shaped the intention of the composer or our understanding of the text’s meaning? • How do gender values reflect the social context of the time the text was created? How do these values compare to the values of today? • How does the physical form of texts affect their interpretation? • How does the cultural background of the responder influence the interpretation of a text?

CRITICAL FRAMEWORK

Visual Language Analysis Sheet The following visual language analysis proforma should help you to explore texts to work out what they are about and how they shape meaning. It is useful to develop a systematic approach to each text you study, focus on the language forms and features and write detailed notes. This sheet offers a fairly comprehensive list of visual language techniques, so remember that some will be relevant to one text but not another.

TEXT: Visual Language forms and features Form: cartoon, comic strip, photo, computer image, advertisement â&#x20AC;Ś Purpose: to satirise, amuse, illustrate, demonstrate, advertise, persuade â&#x20AC;Ś Audience Structure (the way in which ideas/content are organised): What is emphasised? What is the eye drawn to first, second, third? Are there vectors to guide the reading of the text? Is there a logical sequencing of images if it is a photo series or cartoon strip? If a computer screen, are the visual images layered or hyperlinked? Why? How?

Notes and examples

Framing Is there an image in the centre of the frame? If so, why? If not, why not? What is at the top of the frame? What is at the bottom of the frame? What is on the left/right? Point of View Are we looking up to, straight at or down at the subject? What is the effect? Is the subject looking at the viewer or somewhere else? What is the mood? What is the effect? How close are we to the subjects of the image? Icons, motifs or symbols Are there recurring or dominant icons, motifs or symbols? What effect do these have? Colour and light Is colour used, or black and white? Why? What would be the effect if it were the opposite? Is there a dominant colour? Has the composer deliberately manipulated colour eg. used sepia tones, altered normal ideas of colours eg. a green person? What sort of lighting has been chosen for the image? What is the effect? Written text Is it used to support or subvert the visual text?

Written Language Analysis Sheet: The following written language analysis proforma should help you to explore texts to work out what they are about and how they shape meaning. It is useful to develop a systematic approach to each text you study, focus on the language forms and features and write detailed notes. This sheet offers a fairly comprehensive list of language techniques, so remember that some will be relevant to one text but not another.

TEXT: Written language forms & features Form

Chapter/Pages/Scene

Notes and examples

Purpose Audience Structure (the way in which ideas/content are organised). Check against the usual organisation of content in a particular text type/form eg. feature article. Sentence structure and punctuation, grammatical structure  simple  compound  complex Effect of the structure:  short: generally create a sense of abruptness, immediacy, movement  loose: a number of linked clauses, often resembling spoken language, which create a flowing mood or sense of rambling  periodic: main idea at the end of a series of linked clauses, has the effect of emphasising a particular point or idea, building to a climax or anticlimax  complex: generally more formal, often found in a stylised, sophisticated piece of writing; possibly giving the writing more authority

Word choice and language devices

strong verbs, descriptive words (adjectives and adverbs), emotive language, personification, similes/metaphors, connotations, clichés, puns, alliteration, assonance, rhyme, rhythm, onomatopoeia … (some of these my be more relevant to poetry than prose)

Rhetorical features (to compare, contrast, emphasis)  rhetorical questions  juxtaposition  analogy  antithesis  irony Point of view 1st, 2nd or 3rd person narration? How do you know this? Is there only one point of view? If there is, how does the author represent this? Voice/tone/mood How is language used to convey this? Are there any changes? Is the tone ironic, satiric, serious, light hearted or ?

Film Language Analysis Sheet: The following written language analysis proforma should help you to explore texts to work out what they are about and how they shape meaning. It is useful to develop a systematic approach to each text you study, focus on the language forms and features and write detailed notes. This sheet offers a fairly comprehensive list of language techniques, so remember that some will be relevant to one text but not another.

TEXT: Film Language forms/features

Notes and examples

Form: feature film, short film, documentary, animation, TV program, advertisment … Purpose: to satirise, amuse, illustrate, demonstrate, advertise, persuade … Audience

Context Textual Style Structure/Form

factual

historical

 What does the title mean in relation to the film as a whole?  How are the opening credits presented? Do they relate to meaning?  Why does the film start in the way that it does?  Filmic techniques?  Are there any motifs (scenes, images) of dialogue which are repeated? What purpose do they serve?  What three or four sequences are most important in the film? Why?  Non-diegetic sound: voice- overs, music?  Is sound used in any vivid ways either to enhance the film? (i.e. enhance drama, heighten tension, disorient the viewer, etc.)  How does the film use color or light/dark to suggest tone and mood in different scenes?  Whose perspective is given? Why?  Are there any striking uses of perspective (seeing through a character's eyes, camera angle, etc.) How does this relate to the meaning of the scene?  How and when are scenes cut? Are there any patterns in the way the cuts function?  What specific scene constitutes the film's climax? How does this scene resolve the central issue of the film?  Does the film leave any disunities (loose ends) at the end? If so, what does it suggest?

THEME  What issues and questions are suggested or evoked by the film?  Does the film present a clear pointof-view on your topic? How?  Are there any aspects of theme which are left ambiguous at the end? Why?  How does this film relate to the other literary texts you are familiar with?

fictional

humorous

satiric

Begin with your M MOTHERHOOD STATEMENT (conceptual idea/thesis)

AMPLIFY by describing the assumptions behind your thesis or provide greater detail about your thesis.

Identify the composerâ&#x20AC;&#x2122;s choice of TECHNIQUE (or structure/stylistic feature). Example: Incorporate quote or textual reference.

E Effect: Explain the effectiveness of this technique/feature on the responder and how it supports your thesis.

Repeat T & E for several techniques (aim for 4 techniques per paragraph)

Conclude paragraph with a SUMMARY statement about what we learn or understand as a result of this text. This should make a link to your topic (first) sentence.

Paragraph Marking Guidelines                     

Mark: ………………..

Well-focused and persuasive analysis of the text/s in terms of the question. Strongly argues a personal response with significant insight and understanding. Appropriate and specific text references used to support analysis. Highly effective control of mechanics Sound analysis of the text/s in terms of the question Argues a personal response with some insight and understanding Suitable text references used to support analysis Sound control of mechanics Minimal analysis of the text/s in terms of the question. Reverts to retelling the text rather than analysing it, OR response does not meet the terms of the question. Argument/s are plausible, however need greater development Minimal text references used, OR those used do not support the response Adequate control of mechanics. Meaning is still clear, however errors are present. Inadequate analysis (partial, unconvincing or irrelevant) of the text/s in terms of the question. Response lacks a plausible argument, often characterised by an unfocused, oversimplified or repetitive presentation of ideas. Absence of textual references, OR those used are incorrect Limited control of mechanics. Errors affect the meaning of the response. Unacceptably brief response Incoherent in presentation of ideas No supporting evidence of any kind. Control of mechanics flawed. Meaning is affected. Non- attempt OR virtual non-attempt

13-15

10-12

7-9

4-6

1-3 0

PARAGRAPH EXEMPLAR (MATES) – colour code each elements of ‘MATES’ in the paragraph below. How has the concept of journeys been represented in your text? Journeys can be negative and or life-changing. They can involve hardship and loss, creating negative attitudes and emotions for the participants. Bruce Dawe’s poem, Drifters, explores the negative impact of a pending journey on the wife of an itinerant farm worker. Dawe has written his poem in free verse that details the reaction of the woman through an anonymous, detached narrator. We feel as though we are observing the woman and are made to understand the resignation with which she accepts this journey. A fruit motif is used throughout to indicate the short period in which the family has been at the latest location. Berries were ‘bright’ when they first arrived and now on the eve of their departure the vines contain their ‘last shriveled fruit’. This motif allows us to understand that only months have elapsed before they will leave on their latest journey. Before leaving the woman will ‘pick all the green tomatoes from the vine’ in an attempt to salvage something of her investment in this latest place. There is a pathos in her action as we see her try to derive some benefit from her stay here through the symbol of the green tomatoes. The final line uses repetition, ‘Make a wish, Tom, make a wish’, as the wife hopes that her husband would share the wish to settle down in one location and leave the hardship of an itinerant life behind. We find ourselves wishing it for her as she is powerless to achieve stability for her family. Dawe effectively reveals that not all journeys are welcome and we understand that they can in fact be a burden to be endured.

Media Text Types



o Newspaper reports o Newspaper/Magazine Feature Articles o Brochures and Advertisements o Letters to the Editor o Editorial o Diaries / Memoirs o Reviews o Interviews o Speeches o Songs o Visual texts eg cartoons, posters, promotional material o Information Reports o Documentaries o Multi- Media – Radio, Television, Film



   



Style 

Newspaper Reports



Common features       



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Topics are ‘high-interest’ and can relate to regional, national or international events depending on the geographical circulation. If the topic is considered significant such as a war battle or a political scandal, often some background details are also given within the report. Such details are seen as appropriate in clarifying the issues that are concerned. Some eyewitness accounts can also be given for further detail. No conclusion is normally given The overall tone should therefore be impersonal, objective and unbiased The writer’s opinion is not called for and should not be given. It is inappropriate for journalists to use emotive terms or frequent adjectives. Their role is to report the news rather than pass comment or judgement on it. Dramatic words are often used however to make a story seem more sensational even though vocabulary should remain fairly neutral rather than chatty or colloquial in tone.

Tabloids target a mass audience They present ‘hard’ and ‘soft’ news and package it in entertaining, sensationalised ways Column layout is used to make the report easier to read. Graphics add visual information are used to add interest and variety Sub-headings are sometimes used if the report is lengthy. Newspapers aim to present the news in the form of clear, unbiased factual reports The most important details are usually given first. This is often described in textbooks as an inverted pyramid structure. This approach ensures that the bulk of the information is found in the heading or opening paragraph of the news report. Six basic questions of who, when, where, what, why and how are quickly addressed. Sometimes in a very short news report this can be done in the first few sentences. The headline is short, direct and eye-catching. It aims to summarise the main focus of the report. The introductory paragraph or ‘lead’ enables the reader to scan the main facts quickly.

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Headlines do not use normal sentence structure. Words are often left out to make the tone more attention getting and dramatic. Sentences tend to be declarative statements rather than questions, commands or exclamations. Compound or complex sentences are used only sparingly. Paragraphs are short and usually present only one main idea. They are typically about 25-30 words in length and often only contain one sentence. They often begin with sequencing words such as ‘then’, or ‘after’. Numbers from 1-10 are written as words but for numbers more than ten numerals are used. People’s names are written in full at first but thereafter only as Christian names or by their title. Key words or names are used as cohesive ties that are repeated from one paragraph to the next. Time references are also used to link paragraphs. Pronouns are used such as ‘he said’ or ‘she said’ to replace nouns in order to avoid monotonous repetition. Individual quotes may use emotive or colloquial language Third person narrative is used throughout except for direct speech quotations which are written in first person narrative. Journalist do not use “I” statements, Hyphenation at the end of the line is common direct speech is put in quotation marks

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indirect, reported speech is also used-no quotation marks Mrs brown said…………

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Tense    

Use of the active voice in the past tense, in the body of the article headlines are written in the present tense Main body of report will be written in the past tense Present tense occurs when the report is describing current situation

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Graphics 

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Accompanying photograph supports the story and the headline. It often contains pictures of key figures mentioned in the article or an important setting that is referred to. It is also a dramatic shot or an unusual or unflattering angle to catch the eye of the reader. Usually only one graphic is used and then only if the report is long enough to warrant visual clarification or added interest. Captions are used below the graphic to briefly clarify the picture and identify the focus of the report.

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The language is often quite informal and colloquial in tone. Personal anecdotes and details as well as direct quotes is commonly found. Drop quotes, subheadings and graphics add visual interest and maintain reader focus. A persuasive tone is used which is marked by emotive vocabulary. Key personalities that are associated with the topic are often presented in depth, presenting details about their personalities, actions and experiences. The introduction or lead section still needs to grab the reader’s attention but unlike that of a news report, it tends to be more imaginative in nature in feature articles. It can include for example extra features such as a statistic, rhetorical question or a quote. A circular structure is often found within the article with the conclusion returning to an earlier, significant statement or idea. Issues tend to relate to contemporary, social concerns or events. Graphics, graphs, lists, etc are frequently used to add factual detail as well as variety.

Style 

Linking words and sentences are often used between the paragraphs to maintain the flow and Feature Articles development of ideas.  Direct and indirect speech is used to report Common features people’s ideas and beliefs.  Jargonpopular can addinauthenticity to information and  Feature Articles are commonly found in newspapers but are especially opinions that are presented. magazines and online.  Factual evidence is often used to validate the  They vary in style according to context and audience.  They differ from newspapers in that they are less ‘news’ focused.writer’s viewpoint about the topic. is often far more descriptive in style  They are more topical in their approach to subject matter and theyLanguage offer thanreports. that found in news reports. Often use is far more information than the factual framework found in newspaper madeisofoften figurative techniques such as  They often target a particular audience, and so the language and style symbolism and imagery. suited to a particular market interest. Wit, and other forms of humour are also  They are often informative and deal with high interest topics which canirony be current, frequently used, especially in headlines where controversial or human interest in subject matter. the journalist often wants to give an emotional  Feature articles aim to inform, entertain, punch-line. persuade or convince their readers to agree with  A concluding observation about the issue is the writer’s point of view. often presented.  Being more detailed than news reports, they  Drop quotes are used to summarise and often explore an issue quite extensively in terms emphasise a key concern that is raised. These of timeframe or the amount of background also add visual variety to the layout format. information.  Colour imagery is often incorporated to enhance  Information is presented in fairly simple terms the article’s visual appearance. by means of short paragraphs and introductory  First person narrative and an informal, and concluding sections. colloquial style of language is used.  The writer’s personal impressions, attitudes and  A more personal, opinionated, subjective tone is opinions are often included. Presentation is is used compared to news reports. often eye-catching in terms of layout and the use  Humour, exaggeration and anecdotes are often of colour. used to engage the reader

 Brochures and Advertisements All forms of advertising are characterised by the following four AIDA principles:

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 Attention-the consumer’s attention must be caught. This is done through the use of things such as striking graphics, catchy headings and innovative use of layout and colour.

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 Interest-the potential buyer’s interest must be aroused and this is achieved by making a range of emotive appeals.

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 Desire- Interest must be heightened by a strong desire to possess the product. The language used to promote the virtues of what is being sold, often makes more subtle appeals to the emotional psyche of the target audience. This can be done at the conscious or sub-conscious level by appealing to desires such as health, fitness, beauty and status.

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Letters to the Editor Typical Features

 Action-Desire is made urgent by implications that immediate action is required. Language which implies discounts, special or limited offers or similar benefits is often sufficient to make the would-be buyer follow instructions and promply fill in the coupon or phone a certain number.

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Common Features:            

Figurative methods such as similes, metaphors and hyperbole are used to describe places and experiences by appealing to the senses or using exaggeration, symbolism or imagery. Imperative words and phrases such as ‘stop’,‘act now!, ‘Start today!’ are attention grabbing techniques that create a demand for immediate action. Punctuation devices such as colons, dashes, exclamations are eye catching and can add a sense of drama. Information is often given a pseudo scientific feel or recommended via personal endorsement. Appeals to authority are often made with uniformed images of airline pilots or ship captains. Psychology is used to appeal to basic human needs and desires such as acceptability or status.

Advertisements can be are highly exaggerated and biased. sensory appeals that are made to readers Persuasive language techniques are used Tone can be conversational and personable Beautiful and visually striking images are often used to evoke strong emotions in the would be client. Eye-catching illustrations provide emotional stimulus by communicating perceptions of pleasure, relaxation, freedom or anticipation. Broad generalisations and repetition of key words add appeal. Emotive terminology and connotations are used to ‘tempt’ the reader to indulge or experience something that is desirable. Superlatives such as ‘the most exciting’, ‘exotic’ or ‘gorgeous’ are used to boost appeal. Varied rhetorical methods such as rhetorical questions, alliteration or assonance are used to gain attention or to create pleasing rhymes. A sense of urgency is created to pressure the reader into responding by the use of truncated phrases or sentences. Personal pronouns are used to involve the reader.

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This is a brief letter that is written to a newspaper or magazine by a reader. It contains the writer’s personal opinion on a current issue and is usually short and succinct in style. Typically, the writer feels strongly about a topic or issue that is currently being aired in the press or other media. This offers an opportunity for average people to voice their opinions publicly. Aims to persuade and influence the views of other readers. Sometimes a letter will try to challenge or refute ideas that are presented in editorials or elsewhere in the paper. At other times they may support and endorse a particular idea.

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Letters are commonly only two to three short paragraphs. Present tense is often used which emphasises the current issues being discussed. The letter presents a line of argument that is usually opened by a forceful statement. This establishes the central viewpoint and often makes reference to another letter or source. The writer’s feelings are often forcefully presented. Short sentences and paragraphs are commonly used to present arguments Supporting information is used as evidence. Cohesive ties are used to link points in the argument.

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Emotive, personal language is used to convey the author’s attitude.  Rhetorical questions are often used to emphasise a point.  Language is often subjective and opinionative  Tone can be abrasive, angry, sarcastic or ironic. Often it is pitched towards a specific audience relating to the topic in terms of age or culture.  Key words and phrases are often repeated  ‘I” statements predominate but occasionally, second-person (you) narrative is also used to speak directly to readers  A strong concluding statement is often given to reaffirm the point being made.  The writer’s name and address is given at the end to authenticate the letter. Editorials

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Diaries  

Common Features         

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Sometimes written by the editor, especially in smaller papers, but more commonly it is written by a senior journalist on behalf of the editor. A formal style and a serious tone is commonly used. Often the editorial is placed on the same page as the letters to the editor and the satirical cartoon. It is normally located below the paper’s masthead and a headline An important, current issue or event is usually the topic. The editorial presents an explanatory opinion that represents the newspapers stance. A lead paragraphs with a short summary of the ‘news’ under discussion is normally given. The editorial aims to give the newspaper’s official view and comments on current events and issues in the news It offers an informed opinion which is presented in the form of an argument rather than a ‘news’ format. It aims to persuade the reader and encourage them to reflect on a topic. Social issues are often the topic and forceful language is not unusual.

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Diaries can often reveal the writer’s deepest fears, secrets or aspirations. Unlike letters, diary entries are normally written for personal consumption; designed for no eyes other than those of the writer. This personal quality often gives a diary entry a raw and brutal honesty often lacking in other types of communication lack. Whatever the character of the diarist, they will reveal themselves more openly within this type of format. Readers are given access to thoughts, feelings, recollections and attiutudes.

Memoirs    

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Style 

Qualifying terms such as ‘possibly’, ‘likely’ or ‘normally’ are often used to give a philosophic or discursive tone. Opening paragraph states the topic which is then later developed Editorial is set out as a single vertical column, often in larger font size. Connectives such as ‘then’, ‘firstly’ and so one are used to establish sequence, Sections of the editorial are often bolded or underlined to emphasise points.

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A higher reading level than that used in reports elsewhere in the paper is used. This is meant to reflect the knowledge and education of the writer. It is marked by a more complex sentence structure and a broader vocabulary. Manipulative language techniques are used such as persuasive and emotive language as well as the inclusion of quotes, statistics, analogies, comparisons or expert comment. Inclusive language includes the readers as sharing the expressed opinion

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Memoirs differ in several ways from letters and diary entries because they are meant for a public audience. This audience factor impacts on the register as well as the content of what is written. There is a tendency for bias, selectivity and editing. The purpose of memoirs is normally to set the record straight about an important event or period but they can become a forum for altering perspectives and perceptions of people and events. The writer tends to be someone of high status or authority whose interpretations can be respected. Sometimes they are written by someone who is a controversial figure such as a politician or a military figure who might be offering a different version of history. The fact that a memoir is written often long after the events have ocurred also has impact on what is said. Hindsight and the benefit of reflection and reassessment often alters attitudes held at the time.

Interviews

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Interviews are a popular form of entertainment and forums can be live or pre-corded or written. They can be found in all forms of the mass media, in print, television, radio and online. The particular medium used dictates slight differences to the format and/or style of the interview but in essence the typical features remain the same. The subject matter and interview style used in print media is very similar to those found on radio and television. Dialogue techniques are merely replaced by journalistic features. The online interviews tend to combine the best of both media worlds, often having links to audio or video material as well as the textual information of question and answer.

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Anecdotal snippets and human interest details are often used. Audiences enjoy the directness of an interview. The perception is that the interviewee is speaking personally and honestly, directly to the audience. There is often a sense of an interview being uncensored although in reality the questions are normally vetted by the interviewee before the interview. In the vast majority of cases, they have knowledge of what they will be asked. Humour is often used to encourage the interviewee to relax and answer more freely. The focus remains on the interviewee. The host’s role is to facilitate disclosures.

Common Features 

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Television and Radio Interviews Whatever the context, the information that is presented within an interview format gives the responder insight into another person’s life, situation or area of expertise. Information is presented via a series of questions and answers which explore the topic being covered. Discussion is free-flowing and the pace is manipulated so that ‘dull’ patches are avoided where possible. The host guides, encourages and challenges the interviewee to be open up to the audience. The main purpose is to obtain information. The host will often begin by summarising some main points of interest or details about the guest and introduce them to the audience. Questioning styles vary and a degree of interviewing skill is required to make the guest reveal interesting information about themselves and to keep the conversation flowing well. Questions tend to relate to the same areas of interest that are used in newspaper reports and feature articles, namely: Who, What, When, Why, Where and How. ‘Open’ questions are used to encourage the interviewee to answer at length but require only a minimal input from the interviewer. ‘Closed’ Question are used by the interviewer to obtain specific information on specific topics ‘Probing’ questions are used to gain further information about a particular point of interest that the interviewer wants expanded. ‘Hypothetical’ Questions are sometimes used, especially in spoken interviews and typically in the concluding section of the interview. A friendly, conversational and realistic tone is often created by the use of informal or semiformal language. This personal tone is emphasised by the use of second person narrative, ‘you’

Subject Matter 

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Style

The main purpose is to obtain information. The host will often begin the interview by summarising the main points of interest or details about the guest and introducing them to the audience. This sets the situation and establishes the interview context. A series of questions and answers gives a snapshot perspective of the interviewee’s life, experiences or interests. Normally the rich, famous or controversial are the subjects of interviews. Audiences are interested in people whose lives seem more interesting than their own. The revelation of details from a personal perspective accounts in part for the popularity of the form. Questioning styles vary and a degree of interviewing skill is required to make the guest reveal interesting information about themselves and to keep the conversation flowing well. Questions tend to relate to the same areas of interest that are used in newspaper reports and feature articles, namely: Who, What, When, Why, Where and How. ‘Open’ questions encourage the interviewee to answer at length but require only a minimal input from the interviewer. ‘Closed’ Question-Used by the interviewer to obtain specific information on specific topics ‘Probing’ questions seek out further information about a particular point of interest that the interviewer wants expanded. They are often used by the host to fill in any gaps in the conversation. ‘Hypothetical’ Questions are sometimes used, especially in spoken interviews and typically in the concluding section of the interview.

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 A friendly, conversational and realistic tone is often created by the use of informal or semiformal language. This personal tone is emphasised by the use of second person narrative, ‘you’ Anecdotal snippets are used to fill in background, human interest details. These are often supplied by the host as part of his research into the background of the interviewee. They can be used to tease out an answer or clarify a point being made. Audiences enjoy the directness of an interview. The perception is deliberately generated that the interviewee is speaking personally and honestly, directly to the audience. Relevant jargon and a colloquial tone adds credibility. It makes the process more personable and creates a closer link with readers A fast moving interview is marked by a high level of interaction between host and guest where conversation flows easily and ideas bounce off each other. Conversation is responsive, impacted on by what rises out of the interview process itself. It is also affected by other variables such as pace, pitch and volume, especially if an argument or heated exchange occurs. There is often a sense of an interview being uncensored although in reality the questions are normally vetted by the interviewee before the interview. In the vast majority of cases, they have knowledge of what they will be asked. Humour is often used to encourage the interviewee to relax and answer more freely. The use of a second person (you) establishes a conversational tone Details are selected to support a particular image of the subject

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 Print / Online interviews Common Features  The subject matter and interview style is very similar to those found on radio and television. However, dialogue techniques are replaced by journalistic features.  The online interviews tend to combine the best of both media worlds, often having links to audio or video material as well as the textual information of question and answer.  The special focus area relating to the person being interviewed is shown by the use of names, titles, locations, dates and so on.  Background information is often summarised at the beginning. Readers can scan this material quickly. The context is therefore created much more quickly than in a spoken interview.

Most questions are kept short although there can be wide variations in the length of sentences or answers. The focus remains on the interviewee. The host’s role is to facilitate disclosures. Many casual and colloquial words are used to create the impression of a ‘spoken’ rather than reported interview. A written interview often lacks the immediacy of a spoken one and this is an attempt to overcome this limitation. Cohesive ties between the questions and responses are created by the use of link words or phrases such as ‘so’ and ‘looking back’. Contracted words are used such as; ‘you’ve’ and ‘doesn’t’ to create a conversational tone. Verb tenses are mixed to create a sense of immediacy. Wide range of punctuation marks used including ellipsis, colons and so on. Colons are used after the reporter’s name or the name of the magazine at start of each question which is indicated by a question mark. This clarifies the questions and answers for the reader. Inverted commas are not used around questions and answers. It is not presented as direct speech. No formal conclusion is given. The interview ends with a final answer that is followed by asterisk, symbol, or the interviewer’s name. The Headline is followed by a paragraph introduction Questions are presented in short blocks without paragraphs being used Answers are often presented in a different font from the questions A variety of font sizes, styles and colours are used. Often the width of columns is also varied to show the difference between questions and answers. Questions often begin with ‘who’, ‘what’, ‘when’, ‘why’, ‘where’ and ‘how’ questions. They also both second (you) and third person narrative (she/he)

Speeches or Lectures The key features of dialogue texts can be shown as: Purpose + Audience = Register Purpose – What is the motivation behind the speech? Is it political, spiritual, educational, propagandist or whatever? Audience - Who exactly is the targeted audience? Is it an on site audience or is the speech meant to be broadcast on radio or television?

Register – What stylistic features are evident in the language of the speech? What tone, level of language, word choice, emphasis and so on?

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Effective speeches are usually highly polished and carefully constructed forms of communication. The contextual features of speaker, audience, purpose, impact strongly on what is said and how it is delivered to listeners. Because a speech is a spoken text, the actual theatrical qualities of its delivery are also very important. This includes features such as pauses, tone, flow and volume.

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Speech makers often try to tap into the imagination of their listeners. A number of rhetorical or propagandist devices such as repetition can be used to hook the listener’s attention. Audiences can be asked to speculate or imagine places, people or events which are colourfully described or evoked to make them more vivid. Specific language techniques such as the use of trigger words or ideas that appeal to the audience’s emotions or values help hold attention and interest. Delivery must be clear and assured to be effective. What is said must be made memorable to the audience through the use of dramatic pauses or the build up of tension or emotion.

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Common Features 

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Can be both long and short. Longer speeches run the risk of losing their audience unless the material is packaged in ways that remain interesting. Are often emotionally engaging. They can easilywhip up enthusiasm in a crowd and rally support for a cause. Speech or oratory has the ability to manipulate the listener by appealing to the emotions and en masse this has the power to shape public opinion and beliefs. Speeches are a public medium, different in nature to private conversation. Context tends to determine the level of language that is used to present a speech. A highly structured environment, public or solemn occasion such as the funeral of a famous explorer would necessitate a formal level of language. A speech however given to farewell a traveller heading off on the adventure of a lifetime would probably be presented colloquially. Famous speakers throughout history have used and abused this power to sway the masses Politicians and philosophers have used speeches to inform, criticise, encourage, inspire or to brainwash. Effective orators have been able to tap into people’s emotions and beliefs.

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Speeches are an effective way to communicate information to a large gathering of people. As a spoken text it caters to a broad cross-section of the population The best speeches are not impromptu but well prepared and rehearsed. Subject matter can be extremely broad but to be effectively understood, it needs to be appropriate to the assembled audience and immediate context Speeches need to be correctly pitched in terms of topic, register and delivery. A sense of presence and purpose must be generated by the speaker if what is said is to have impact. The speaker needs to seem an imposing figure. The key topic of the speech must be clearly conveyed. The base argument must be repeated so that the message is well supported and remembered by the listener. The opening of a speech aims to ‘hook’ the audience’s attention. The audience are usually directly addressed at key points in the speech to jog attention and maintain interest. A clear structure is required to help clarify points raised. Information should be presented in short, well constructed segments that are logically linked. The conclusion usually reinforces the central point of the speech and encourage a specific action or belief in the listener.

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Language features such as the use of rhetorical questions, evocative images, anecdotes or the use of wit, irony or sarcasm can help reinforce ideas in an entertaining way. Points can be effectively supported by facts, figures, jokes and quotations Interesting and appropriate examples should be incorporated throughout. A strong sense of confidence and sincerity within the speaker should be generated to make them seem more personal and influential to listeners. Words need to be carefully chosen so that concentration can be maintained Core ideas need to be kept clear without being made monotonous by too much repetition. An engaging personality, body language and voice can make it easier for the listener to become emotionally and intellectually linked to the speaker. A forceful delivery is required is the audience is to continue ‘listening’ rather than tuning out.

 Song Texts 

Songs in general can be examined in terms of:  Subject matter- What is it about?  Purpose-What does the lyricist hope to communicate to the listener?  Structure- What structure has been used and why? Are refrains or choruses used? To what effect?  Style- What mood, tone or style is evident in the song?  Language – What diction, tone, figurative techniques etc have been used and why?  Themes – What main ideas or concepts are developed within the song?  Symbolism / Imagery- What key symbols or images are used and why?

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Does the cartoon have a single frame structure or is it a strip cartoon that tells a visual narrative? Does the frame, if there is one, isolate the visual image from the text in any way or are they integrated within the frame/ Does the framing help shape the meaning?

Size and Position  How large are the figures within the cartoon? Do they dominate the frame or are they peripheral to what is being shown?  How has the visual been cropped? What is focused on and why? Bias 

Songs are characteristed as being a condensed form of expression where meaning can be packed into a few words. They tend to be short and ideas are often kept fairly simple and repetitive. This is because it can often be more difficult for listeners to concentrate when they do not have the words in front of them to go over. Central ideas or themes are typically easy to identify.

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What perceptions are created by the expressions used? Are there obvious villains and heroes or are they figures depicted as neutral? What emotional context is created, why and how?

Message  What is the cartoonist saying via the visuals and text?  What is being ridiculed or criticised?  What impression does the cartoonist want to create on the viewer?  What visual techniques have been used to emphasise the message? How effective have they been?

Visual Texts There are many types of visual images that are used within media texts. They are highly effective because visual images can often communicate information more quickly and easily than words. Techniques can vary depending on the type of visual that is used and the particular medium in which they are found. The composer’s intention can include wanting to amuse, inform or persuade the viewer and this impacts on the visual methods that are used. When analysing any visual text, subject matter, framing, size and position, bias, message and written text if applicable, are among the typical criteria that is examined. Cartoon s are one media text that fully utilise the power of visuals to communicate ideas.

Written text  Have labels, speech balloons or captions been used to reinforce the visual message being given?  How does the text add to the meaning?  How is emotional impact conveyed by the words that are used?

Common Features:  Cartoons often use lighthearted satire and visual humour as a way of poking fun or raising awareness of some subject.  Their message may be politial, economic or social in tone and the cartoonist’s approach can be subtle or blunt.  Satiric methods often include:  Exaggeration  Distortion  Caricature  Paradox  Wordplay in the form of puns or idiom  Stereotypes and symbols  Simple, single frame visuals with just a caption or speech balloon

Cartoons Response Guidelines- Examine the following when studying cartoons Subject Matter  Identify what is shown in the cartoon.  Evaluate what action is being shown and consider what it signifies.  Examine what sort of figures are shown .  What is happening in the background, is it simple or complicated? Framing

Documentaries of every style and topic are very popular forms of media entertainment. The Discovery Channel has them as staple fare and they are found on all the major television channels. They can be low or high budget, single programs or serialised, hosted by well known personalities or relative unknowns. What is common about them however is that they take the viewer on an imaginative journey retracing the steps of the narrator.

Information Report Typical features        

Style             

Reports are highly organised bodies of information that relate to a core topic or issue. Data is presented logically, methodically and sequentially under headings and subheadings. Report in content and style is targeted to its audience Material is categorised into compartments that are linked and developed The central structural framework is often referred to as the outline. Reports aim to thoroughly investigate something and reach conclusions based on the evidence found. Conclusions and recommendations in relation to the topic under review are also given. Reports are used especially in business to guide future transactions and decision making.

Common features     

Technical, scientific, medical or even Latin terms can be used to give greater validity and kudos to the report. Language is formal, precise, explicit and objective in tone. Concrete rather than abstract terms are used Ideas that are being presented should sound impartial Sentences short and to the point rather than long and rambling Simple and concrete explanations are used rather than complex and abstract comments or observations. Clarity is enhanced by using comparative techniques The structure makes the information more accessible to readers by breaking the data into sections. A general introduction is often included where important terms are defined and a summary of the information is given. Problem or issue is clearly outlined in the introduction section A series of statements follow that succinctly present the facts Headings and sub-headings are used to label each section and these are often numbered. Feasible recommendations are given in the conclusion

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Travel documentaries have a particular slant or focus. This can relate to place, cost, means of transport and so on. They provide insight into different parts of the world and offer new perceptions of places that might otherwise remain unknown to the viewer Selected details manipulate the viewer’s perspective and opinions about what is being represented. Bias and impartiality is often difficult to detect because the information has been sifted and categorised beforehand. The medium allows a certain view of the travel topic being presented to be carefully constructed. A persuasive point of view is presented which colours the information provided A travel narrative becomes the main framework for the program

The format manipulates the subject matter and lends authority and credibility to the narrator. The program provides a snapshot illusion of reality, often couched in an ‘info-television’ style with little real substance or depth of information. Maps, graphics and other travel memorabilia act as explanatory devices that enhance the validity of what is being presented. Background music and sound effects help create ambiance and realism to what in many cases are disjointed odds and ends of information. Emotional impact is created by a range of audiovisual techniques A conversational tone is sometimes created by the use of clichés and colloquialisms which also add a sense of intimacy and companionship.

Multi-media Texts Multi-media is an ever-expanding field of communication and includes radio, television and websites. The interactive nature of the medium makes them appealing and popular. Material can be altered quickly and removed when it becomes outdated or

Documentaries

superceded. The ability to remain ‘current’ is favoured by advertisers who make extensive use of multi-media texts. Mass communication mediums of radio, television and film are powerful communicators as shown by the hysteria created by Radio in 1938 when America was led to believe that it was being invaded by Martians in Orson Welles’ boardcast of “The War of the Worlds”. Film “Film, the most powerful medium in the world, is awesome in its ability to change thinking and behavior. It has no peer in its power to impart concepts, ideas, and information quickly, interestingly, and, if it is well crafted-indelibly.” (Film Critic -Marion Blue) Initial viewing- Take notes on the following            

Opening Scene- how is the viewer’s interest caught? Whose point of view is the film presented through? What unities of time, place and action are used? What central themes or ideas are developed within the film? How is the protagonist characterised? How is the antagonists characterised? What is the protagonist’s goal/purpose? What does the film portray about the film’s world and context? What insight if any is given? What impact is made on the viewer? What cinematic techniques are used to appeal to the viewer’s senses and maintain their interest? What conflicts are developed? What key scenes and quotes are memorable?

Polishing Stage- Preparing study notes  

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Use Film glossary terms to describe cinematic features relating to camerawork, lighting, sets, intercutting shots and so on. Focus on the fact that film narratives tell their stories through images rather than words. Look carefully at how visuals have been used to set the scene, build atmosphere and involve the viewer. This means that mis en scene elements, camera angles and shots need to be analysed, especially in key scenes to determine the impact of tracking, tilt, zoom, close up shots and so on. Auditory techniques are equally important in creating the film world. These relate to dialogue, music, sound effects and voiceover/narration.