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Unit overview: English Stage 3 – Visual Literacy – Engadine Community of Schools Linking Literature Project

Name of unit: Picture this! Writers: Hugh Hogan (Engadine West Public School), Tiffany Wirth, Patricia Dyszel (Engadine Public School), Cindy Burton

(Yarrawarrah Public School), William Webeck (Marton Public School), Rebecca Duncan, Lisa Edwards (Engadine High School)

Concept/s

Code and convention: composers use text structures and language/visual features intentionally to create texts

Connotation, imagery and symbolism: rich meanings are produced when responders recognise and engage with imagery and symbolism

Representation: may be realistic or unrealistic, and influence reader response. Representation varies with text form and media.

Point of view: the composer chooses the way a story is told and the language/ images appropriate to their purpose and media

Point of view: the composer creates a relationship with the responder, and can evoke empathy or indifference

Texts:

Examples: Film trailers: ‘Brave’ trailer, Bridge to Terabithia trailer, The Boy in the Striped Pyjamas, Harry Potter- The Philosopher's Stone, Frozen -’Let it go’ sequence, Hugo trailer Video resources: Story starters on Youtube, Video on point of view Picture books - ‘Beneath the surface’ - Gary Crew; ‘The Watertower’ - Gary Crew; ‘Old Pig’ - Margaret Wild; ‘John Brown, Rose and the Midnight Cat’; ‘Grandad’s Gifts’ - Paul Jennings; ‘The Island’ - Armin Greder;' Piggybook'- Anthony Browne; Scenes from films: Paper Planes Short films: Short of the Week website Website resource: 21st Century Learning Snapshot,

Rationale/focus This unit is designed to be delivered in Term 4 of Year 6, in preparation for Year 7. In Stage 4, students complete a visual literacy unit on Narrative and Representation, and this unit covers preparatory concepts and skills of visual literacy.

Students will be exposed to a variety of visual texts - picture books and film – to develop understanding of code and convention, imagery and symbolism, representation and point of view in text in Stage 3, to enable deeper analysis and engagement moving into Stage 4.

Focus questions:

● How do composers explore ideas about our world by combining words, sound and images?

● How is point of view represented in texts? How can we identify point of view?

● How can ideas be represented symbolically?

● How does the composer’s representation affect our response to the text?

● How does context influence the ideas of texts? - Higher order/extension question

Assessment:

1. Formative: Representation - Create a visual text - film, series of images, picture book - choice - peer and self-assessment with criteria 2. Summative: Writing - structured analysis using PETAL paragraphs

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Focus Outcomes: Stage 3

Stage 3 - Speaking and listening: communicates effectively for a variety of audiences and purposes using increasingly challenging topics, ideas, issues and language forms and features

● use appropriate metalanguage to identify and describe relationships between and among texts

● use metalanguage to describe the effects of ideas, text structures and language features on particular audiences (ACELT1795)

● participate in and contribute to discussions, clarifying and interrogating ideas, developing and supporting arguments, sharing and evaluating information, experiences and opinions

Stage 3 - Writing and representing: composes, edits and presents well-structured and coherent texts

● understand and appreciate the way texts are shaped through exploring a range of language forms and features and ideas

● identify and explore underlying themes and central storylines in imaginative texts

● understand and use the key elements of planning, composing, reviewing and publishing in order to meet the increasing demands of topic, audience and language

● plan, draft and publish imaginative, informative and persuasive texts, choosing and experimenting with text structures, language features, images and digital resources appropriate

to purpose and audience (ACELY1704, ACELY1714)

● compose imaginative and informative texts that show evidence of developed ideas

Stage 3 - Reading and viewing: uses an integrated range of skills, strategies and knowledge to read, view and comprehend a wide range of texts in different media and technologies

● understand how texts vary in purpose, structure and topic as well as the degree of formality (ACELA1504)

● compare texts including media texts that represent ideas and events in different ways, explaining the effects of the different approaches (ACELY1708)

● analyse how text structures and language features work together to meet the purpose of a text (ACELY1711)

● recognise the effect of multimedia elements, eg film techniques, animation, voice-overs, sound effects, framing, close-ups

● interpret picture books, comic strips and sequences of digital images which do not contain written text

● recognise how aspects of personal perspective influence responses to text

● discuss aspects of literature that influence personal choice in reading

Stage 3 - Responding and composing: discusses how language is used to achieve a widening range of purposes for a widening range of audiences and contexts

● identify and discuss how own texts have been structured to achieve their purpose and discuss ways of using conventions of language to shape readers' and viewers' understanding

of texts

● discuss how the intended audience, structure and context of an extended range of texts influence responses to texts

● analyse strategies authors use to influence readers (ACELY1801)

● discuss the conventions of a range of complex texts, eg act and stage directions in plays, literary devices in poems and stories, layout conventions in print and digital texts

● recognise the techniques used by writers to position a reader and influence their point of view

● identify and use a variety of strategies to present information and opinions across a range of texts

Stage 3 - Thinking imaginatively, creatively, interpretively and critically: thinks imaginatively, creatively, interpretively and critically about information and ideas and identifies connections

between texts when responding to and composing texts

● recognise and explain creative language features in imaginative, informative and persuasive texts that contribute to engagement and meaning

● interpret events, situations and characters in texts

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● explain own preferences for a particular interpretation of a text, referring to text details and own knowledge and experience

● think critically about aspects of texts such as ideas and events

● identify, describe, and discuss similarities and differences between texts, including those by the same author or illustrator, and evaluate characteristics that define an author's

individual style

● compare how composers and illustrators make stories exciting, moving and absorbing to hold readers' interest

● understand how authors often innovate on text structures and play with language features to achieve particular aesthetic, humorous and persuasive purposes and effects

Stage 3 - Expressing themselves: identifies and considers how different viewpoints of their world, including aspects of culture, are represented in texts

● recognise that ideas in literary texts can be conveyed from different viewpoints, which can lead to different kinds of interpretations and responses

● identify aspects of literary texts that convey details or information about particular social, cultural and historical contexts (ACELT1608)

● recognise how the use of language and visual features can depict cultural assumptions in texts

● identify and describe the representation of people, places and events in film and the media

● respond to short films, documentaries and multimedia texts that express familiar and new aspects of the broader world

Stage 3 - Reflecting on learning: recognises, reflects on and assesses their strengths as a learner

● reflect on own learning achievements against specific criteria

● discuss how the reader or viewer can enjoy and discover a wide range of literary experiences through texts

● develop criteria for assessing their own and others' presentations

● describe how skills in speaking, listening, reading/viewing and writing/representing contribute to language development

Learning Processes

Understanding Students interpret and explain how language forms and features communicate ideas

Engaging Personally Students appreciate and explain the effect of stylistic features of texts on meaning and audience

Connecting Students compare different aspects of language and texts to understand the effects of different choices and contexts

Engaging Critically Students recognise that texts can influence and position the reader

Experimenting Students experiment with text structures and language features to adapt and interpret texts and experience in a range of modes and media

Reflecting Students identify, use and discuss text processing strategies and assess the development of their own skills against agreed criteria.They consider the benefits of collaboration with their peers and reflect on their learning achievements

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Learning Sequence:

Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Representation:

Representations

influence response

Point of view:

The composer chooses

the way a story is told

and the language

appropriate to that

purpose in different

modes and media

recognise the

techniques used by

writers to position a

reader and influence

their point of view

recognise the effect

of multimedia

elements, eg film

techniques,

animation, voice-

overs, sound effects,

framing, close-ups

use appropriate

metalanguage to

identify and describe

relationships

between and among

texts

THE HOOK - ENGAGE in film

Use a film trailer or several trailers to hook students and connect to prior knowledge and learning.

You might like to use the SEE-THINK-WONDER template – RESOURCE 1.

Discuss in pairs then share with class:

● How does the trailer make you feel? ● What mood or atmosphere was created? How do you think the director did this?

(Think about your lesson with the Engadine High teachers.) Do you remember any film techniques?

● What did it make you think about? ● What questions do you have about the film? ● What is your favourite film and why?

Learning goals for the unit:

Provide students with the unit’s learning goals (RESOURCE 2) using these focus questions. By the end of this unit, you will be able to answer:

● How do composers explore ideas about our world by combining words, sound and images?

● How is point of view represented in texts and how can we identify point of view?

● How can ideas be represented symbolically?

● What impact do composers have on responders? How do they influence us?

● How does context influence the ideas of texts? – this is a higher order/extension question

Engagement in

discussion

Connecting

Student responses –

written and verbal

Engaging personally

Connecting

Learning goals

checklist

Understanding

Reflecting

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Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Point of view:

The composer

positions the reader to

respond to a text in a

particular way

Code and convention:

Choices of language

and design have subtle

differences and effects

use metalanguage to

describe the effects

of ideas, text

structures and

language features on

particular audiences

(ACELT1795)

Introduce picture books:

Pull out a selection of picture books for students to look at in pairs. In pairs, students read and

discuss one book. Pair -> Share.

Use the visible thinking table (RESOURCE 3) to answer the following questions:

● What do you see on the front cover? Does it interest you? Why/why not? ● What do you think the author wants you to feel and/or think about? ● Did you enjoy the text? Why/why not? ● How did the author use words to tell the story? (Rhyme, imagery etc) ● How much do you rely on words to comprehend the story? (Think about font, size, positioning, lack of words etc) ● How did the illustrator use images to communicate ideas to the responder (you)? ● What do you think the overall message is? Who is it aimed at? ● Do you think that picture books are only meant for young children? Why/why not?

● ● Show students same trailer from beginning of the lesson (with sound only, projector turned off)

and discuss the overall importance of images in a text.

Responses on visible

thinking table

Engagement in pair

and class discussion

Understanding

Engaging Personally

Engaging Critically

Visual language:

From English K-10 Syllabus–Glossary1

Language that contributes to the meaning of an image or the visual components of a multimodal

text and are selected from a range of visual features like placement, salience, framing,

representation of action or reaction, shot size, social distance and camera angle. Visual language

can also include elements such as symbol, colour, scene and frame composition, setting and

landscape, lighting and the use of editing.

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Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Introducing Visual Literacy Techniques:

Use a variety of picture books, visual images etc to explicitly teach the elements of visual literacy.

Students create a glossary of terms, either in their books, with a poster or digital portfolio, which

they add to as they learn, summarising each element and giving an example.

Suggested Resources:

A collection of wordless picture books, or picture books with strong visual storylines such as those

by:

• David Wiesner

• Jeannie Baker

• Bob Graham

• Anthony Browne

• Shaun Tan

• Rod Clement

• Chris Van Allsburg

Teacher Background Information:

Pedagogy- educational beliefs about language and how students learn related to visual literacy.

1. Children perceive many meanings, sometimes without being conscious of what or how they

perceive.

2. Discussion or modelling will make students more aware of their own readings.

3. The vocabulary/language of reporting frequently needs development and support.

4. Skill in the use of vocabulary and language in one context will flow to other contexts.

5. Our students are immersed in visual media and have many perceptions which have been

reinforced since infancy.

6. Many visual symbols are as obvious to them as words are.

7. Some symbolisms, eg slow motion in a film to represent speed- may never have been verbalised.

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Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Representation:

Information and ideas

can be represented

symbolically

recognise how the

use of language

and visual

features can

depict cultural

assumptions in texts

● understand and

appreciate the way

texts are shaped

through exploring a

range of language

forms and features and

ideas

● identify and explore

underlying themes and

central storylines in

imaginative texts

● interpret picture

books, comic strips and

sequences of digital

images which do not

contain written text

8. It is possible to share interpretations of visuals.

9. Individual ‘readings’ can sometimes change the group’s interpretation.

10. Students today have high level visual literacies.

11. Critical literacy with visuals can be liberating.

Sequence 1:

Viewing a picture storybook

This learning activity will allow teachers to identify prior learning. Students will use their own

language to interpret the images, before being introduced to the metalaguage of visual literacy.

Sharing the text (reading/viewing and interpreting)

During shared reading discuss the idea that we can ‘read’ in different ways.

1. Preview the cover of a wordless picture book, eg Tuesday (David Wiesner), or a text of

your own choice, activating students’ prior knowledge and inviting predictions.

Adjustments: Provide sentence starters for student responses, eg ‘I can see …’ or provide a word

bank of items for students to identify elements of the cover.

2. Explain that David Wiesner is both the author and illustrator of this picture book. He uses

very few words in this text, which may be a little puzzling at first. David Wiesner invites

you, as the reader, to be a problem solver. You need to use clues from the pictures, as well

as using your own imagination to create your own interpretation of the text. Discuss why

David Wiesner may have adopted this approach, considering the intended audience and

purpose of the text.

3. Share the text with students, pausing to think aloud and model thinking about the text

using a ‘See Think, Wonder’ strategy, or a ‘Say Something’ strategy. These thinking

Engagement in

discussion

Engaging Personally

Engaging Critically

Visible thinking

routines

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Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Point of view:

Point of view can

create a more

personal or distant

relationship with the

responder, evoking

degrees of empathy or

indifference

● discuss the

conventions of a range

of complex texts, eg

act and stage

directions in plays,

literary devices in

poems and stories,

layout conventions in

print and digital texts

● identify, describe, and

discuss similarities and

differences between

texts, including those

by the same author or

illustrator, and

evaluate characteristics

that define an author's

individual style

recognise how

aspects of personal

perspective influence

responses to text

routines support students to attend closely to details in the visuals, stimulate their

curiosity and encourage thoughtful interpretations.

4. After modelling, pause at various openings and invite students to turn and talk with a

partner about their observations, their questions, predictions and wonderings. Encourage

students to justify their thinking using evidence from the illustrations.

Adjustments: Provide scaffolds and sentence beginnings, eg I wonder why …, I can see that …, I

think she is happy because …

5. After sharing, invite students to work in pairs and choose a double page opening of a

picture book to complete the response page (RESOURCE 4). Allow students to use their

own language to discuss what they can see. After the next sequence, students will repeat

this activity, using their new knowledge of visual literacy metalanguage to complete the

response.

6. Students will work independently or with peers to analyse a picture and share their

thinking about. Model completing the response page handout and then students work to

show:

what they noticed – the effect the picture has on the viewer/story

how the illustrator achieved the effects.

Sequence 2: Analysing techniques

Resources:

Visual Literacy Pics PDF

Quality picture books

Magazines

Visual Features PPosters

Student workbooks

iPads – Book Creator App, Explain Everything (optional but recommended)

Engaging Personally

Engaging Critically

Group discussion

Understanding

Engaging Personally

Engaging Critically

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Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Code and convention:

The codes and

conventions of visual

texts provide the

foundations for

innovation

use metalanguage to

describe the effects

of ideas, text

structures and

language features on

particular audiences

1. Revise the purpose of a glossary. Tell students that they will be creating their own glossary of

terms relating to visual literacy. Prepare a space in the classroom where you can add student

examples and create a class glossary (or record it in a notebook file).

2. Discuss with students how composers arrange the pictures just as carefully as an author places

words in a sentence. Each illustration is carefully planned using a range of visual techniques or

codes. Use some examples from the last lesson to compare the language students used to

describe the pictures. Draw out the idea that we need a common language to discuss visual

literacy, and that there are terms and definitions we need to learn so that we can talk about

visual texts.

3. Create a picture walk. Using the Visual Features Posters on display in your room, students walk

around the room to view each poster and make brief notes in their books or digitally about

each visual feature – building their glossary. Visual features covered are:

Gaze: where is the character looking? Offer = no eye contact. Demand = eye contact.

Scale and Size: Size = small or large, scale = comparative size.

Colour: use of colour or lack of colour

Tone: Lighter or darker shading, depth of colour

Salience: the object or figure that draws our attention and begins the reading path

Angles: front, side, high, low, eye-level

Vectors: lines in an image – horizontal, vertical, diagonal, curved

Symbols and motifs: object or visual elements (like colour) that represent bigger ideas

Positioning: Placement of landscapes, figures and objects on the page

Shapes and contours: straight or curved? Shapes of objects and figures

Framing and borders: lines around/over images, or absence of frames/borders

4. During several shared reading sessions explore the visuals and techniques used by the

illustrator to create meaning. You may like to use the Visual Literacy Pics PDF or a range of

picture books or magazines.

Connecting

Connecting

Understanding

Glossary notes

Understanding

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Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Representation:

Representations of the

wold may be realistic

or non-realistic

Point of view:

Composer is different

to character and

narrator, and positions

the responder to think

in particular ways

understand how texts

vary in purpose,

structure and topic as

well as the degree of

formality

(ACELA1504)

recognise that ideas

in literary texts can

be conveyed from

different viewpoints,

which can lead to

different kinds of

interpretations and

responses

identify aspects of

literary texts that

convey details or

information about

particular social,

cultural and historical

contexts (ACELT1608)

5. In the initial exploration of the pictures, focus on familiar aspects of the visuals. Discuss how

composers establish the setting and the characters. Encourage students to justify their

responses using evidence from the text, for example:

• Where is the story taking place?

• Is it real or imaginary? What makes you think that?

• Who are the characters in the story?

• How do their facial expressions help us understand how the characters are feeling?

6. Use a text and introduce a few of the visual literacy terms appropriate to that text. For

example, explore the artistic choices/techniques the illustrator uses to create the moods and

emotions and the key themes of the story such as use of colour, light and shadow, and size, eg

How does the use of the colour build the mood of the story? What do you notice about the

size of the frogs on different illustrations? How does it make you feel about the events?

Adjustments: Choose appropriate techniques and questions to match students’ abilities.

7. Discuss ways the illustrator tells the story from a particular point of view. Explore the use of

angles to convey relationships between the characters (point of view) or develop relationships

between the viewer and the action (spectator/participant), eg:

Look carefully at an illustration and describe whether you, the reader, are close up or far

away.

Why do you think the writer has placed you there?

Can you find any examples of a character that is close to you or is looking directly at you?

(A demand for response)

Can you compare it with another illustration in which you feel more distant from the

action

What do you notice about the character’s gaze?

Individual and pair

responses, class

discussion

Understanding

Engaging Personally

Engaging Critically

Student responses in

books

Engaging Personally

Connecting

Engaging Critically

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Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Representation:

Information and ideas

may be represented

symbolically

Representations are

created using the

codes and conventions

of visual literacy

Code and convention:

Choices of visual

features affect

understanding

understand and use

the key elements of

planning, composing,

reviewing and

publishing in order to

meet the increasing

demands of topic,

audience and

language

● reflect on own learning

achievements against

specific criteria

think critically about

aspects of texts such

as ideas and events

Creative Task: Applying the learning

Prepare a collection of picture books, magazines etc. You will need as many books as you have

groups (eg. 15 books for 15 pairs, or less for larger groups).

Using their own glossaries and the Visual Features Posters around the room, students are to rotate

around the books, finding an example of each visual feature in the text they have been given.

Students could take a photo of the image they find and use an app (Book Creator, Explain

Everything) to make a visual glossary with an example. If no iPads are available, students could

draw their own images with all of the terms defined and examples written in.

Example made using book creator:

Students create a

digital record (or

visual

representation) of

examples of visual

features in a visual

glossary

Understanding

Engaging Personally

Connecting

Experimenting

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Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Point of view:

A narrator may be

inside or outside the

story

Point of view positions

us to respond in a

particular way

Representation:

Representations

influence response

Representations may

be adapted for

different audiences

participate in and

contribute to

discussions, clarifying

and interrogating

ideas, developing and

supporting

arguments, sharing

and evaluating

information,

experiences and

opinions

compare texts

including media texts

that represent ideas

and events in

different ways,

explaining the effects

of the different

approaches

(ACELY1708)

identify and describe

the representation of

people, places and

events in film and the

media

Higher order thinking: extending the learning – point of view/representation

Choose a text with a clear message/intent. Discuss the intent of the composer and the way the visual elements have been chosen to express their perspective. Talk about which perspectives are not being represented. Eg, book promoting environment, showing cultural perspective

For example, read the students the picture book 'Rabbits' by Shaun Tan. How does the author represent the character and why? How does this create point of view for the responder? Whose point of view is not included? What is the intent of the author? Have students refer to their Glossary of Visual Literacy terms. In pairs find pictures from 'Rabbits' that highlight the terms and share with the class.

Analysing Film:

1. In this sequence, students explore film technique, learn the correct terminology, and analyse

how meaning is made in film. They create a storyboard and experiment with still and moving

images to create an effect. You could use any film trailer or excerpt for this sequence.

The trailer and text from ‘Bridge to Terabithia’ is used here as an example.

RESOURCES:

Bridge to Terabithia film trailer

Bridge to Terabithia excerpt – Leslie dies

Bridge to Terabithia excerpt (swing scene) from novel

Written responses

and engagement in

discussion

Understanding

Connecting

Engaging Critically

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Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Code and Convention:

Codes and

conventions vary in

different media, and

for different audiences

and purposes

Representation:

Representation in

each mode operates

according to its own

codes and conventions

analyse how text

structures and

language features

work together to

meet the purpose of

a text (ACELY1711)

discuss how the

intended audience,

structure and context

of an extended range

of texts influence

responses to texts

compare how

composers and

illustrators make

stories exciting,

moving and

absorbing to hold

readers' interest

compose imaginative

and informative texts

that show evidence

of developed ideas

explain own

preferences for a

particular

interpretation of a

Sequence:

View the trailer of 'Bridge to Terabithia' and discuss with the students whose eyes the story is being portrayed through? How is the director doing this?

Show students the Youtube video showing Leslie’s death and compare and contrast it with the written version in the novel. In the film how did the director create the visual images of loss and empathy? How does this compare or contrast with the text? Which do you prefer? Why?

View the Camera Angles and Shots video on Youtube and complete the activity sheet (Resource 5).

If students need it, you may like to reinforce this learning with the ‘Camera Techniques’ Powerpoint and then complete the ‘Defining Camera Shots’ sheet (Resource 6).

Examine the trailer again with a focus on code and convention, imagery/symbolism and representation. What aspects of the trailer indicate there may be fantasy elements to this text?

2. Understanding and connecting: View the film trailer for Brave, and ask students to identify a range of shots, sounds, text, etc. Use Resource 7.

3. Engaging critically:

Brainstorm as a class names of movies where there is good vs. evil shown. Record on the board for reference. Select a couple of examples from the board and ask students to consider (a) what qualities in a character make them likeable (eg kind, caring, generous, brave etc) and; (b) what qualities in a character make them unlikable (eg bully, selfish, greedy, nasty).

Teacher guided task- visual representation (artwork, digital or other form) of 'good' and 'bad' emotions/feelings. Students to create for visual display in the classroom.

Engagement in

discussion

Understanding

Engaging Personally

Connecting

Engaging Critically

Written responses

Engaging Critically

Visual

representation

Experimenting

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Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Connotation, imagery

and symbolism:

Richer meanings are

produced when

responders recognise

and engage with

imagery

Representation:

Information and ideas

may be represented

symbolically

text, referring to text

details and own

knowledge and

experience

interpret events,

situations and

characters in texts

respond to short films, documentaries and multimedia texts that express familiar and new aspects of the broader world

plan, draft and

publish imaginative,

informative and

persuasive texts,

choosing and

experimenting with

text structures,

language features,

images and digital

resources

appropriate to

purpose and

audience

View opening sequence of 'Paper Planes' and discuss the two main characters that are portrayed in the clip. Which character do you like? Which character do you not like? Why/why not?

o What values or ideas are expressed in the text?

o How have you been influenced or positioned in the text by the director to feel a certain way about the characters?

o How do we feel when we see a character like Dylan overcome obstacles and challenges? Why are we drawn to characters like Dylan? What is the composer's purpose? (To make us empathise, rejoice, feel a sense of satisfaction, reflect on our own lives etc)

o Why do we dislike Jason? (Eg the nature of bullying, and the impact it may have upon individuals who are affected).

Experimenting:

Students make their own story board based on the idea – the bully. Discuss how power and relationships might be portrayed through different techniques. Use either written version/sketches or technology to create this. Students need to display several techniques that represent a variety of elements taught across the week. (Visual Literacy techniques)

AND/OR

Students will experiment using iPads to show how point of view can be conveyed through film techniques. In small groups students will create and experiment with images using a variety of camera shots, camera angles, lighting, colour, soundtrack, sound effects and special effects. Present these to peers and discuss how the point of view changes according to the images used. Could be made into an iMovie representing the negative impacts of bullying.

AND/OR

Students will begin creating their own narrative in pairs, using both a 'good' and 'bad' character.

AND/OR

Engagement in

discussion

Engaging Personally

Connecting

Engaging Critically

Storyboard

Understanding

Engaging Personally

Experimenting

Still shots or film

Understanding

Connecting

Engaging Critically

Experimenting

Narrative

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Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Point of view:

Point of view can

create a more

personal or distant

relationship with the

responder, evoking

degrees of empathy or

indifference

identify and discuss

how own texts have

been structured to

achieve their purpose

and discuss ways of

using conventions of

language to shape

readers' and viewers'

understanding of

texts

develop criteria for

assessing their own

and others'

presentations

recognise and explain

creative language

features in

imaginative,

informative and

persuasive texts that

contribute to

engagement and

meaning

Students use Storybird to visually represent their narrative and present their Storybird/movie to the class. The audience will be reminded of their responsibility to listen carefully and consider how characters evoke certain emotions and why the composers of this story have purposely represented characters in this way:

o What have students been asked to think about as a result of reading/viewing this text? Audience will record once sentence in their English books for each presentation, with a focus on how it made them feel. Teacher may provide a proforma.

Reflecting:

Class discussion on Storybird presentations, go around room and each student comment on one thing they enjoyed about this task.

Students reflect on the idea of representation and how composers are able to manipulate the responder, positioning them to feel a certain way. They should write in a journal format, with particular focus on what they learnt in each lesson.

Digital picturebook /

film

Understanding

Engaging Personally

Connecting

Engaging Critically

Experimenting

Reflecting

Journal responses

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Concepts Outcomes Lesson Sequence Evidence AND

Learning Processes

Code and Convention:

Visual texts

communicate with

their own codes and

conventions to

express information

and ideas

Representation:

Information and ideas

may be represented

symbolically

analyse strategies

authors use to

influence readers

(ACELY1801)

identify and use a

variety of strategies

to present

information and

opinions across a

range of texts

understand how

authors often

innovate on text

structures and play

with language

features to achieve

particular aesthetic,

humorous and

persuasive purposes

and

ASSESSMENT TASK

Introduce the PETAL response strategy (Resource 8). Model the construction of the paragraph.

Choose an image (or series of images – may include text) from a picture book, a film still shot or an artwork. How has the composer used visual features to convey meaning in the image?

Use the following prompt questions: ● What is happening in this image? ● What ideas are explored? ● How has it been constructed to influence the responder?

EXAMPLE: This image is a drawing of a piece of pizza and some chips seeming to fly towards a dog. The composer has constructed it to appeal in a humorous way to the responder and suggest that the dog is hungry for pizza. To make this image humorous, the composer has drawn the dog with a silly look on its face. Its eyes are wide open and it is licking its lips. The artist suggests the pizza is moving through the use of blurred lines. There are strong vectors in the edges of the pizza, which combine with the gaze of the dog’s eyes to draw your eyes. The responder is positioned so that it looks like the pizza is flying away from the responder, towards the dog’s head, which is positioned in the just off centre in the frame. Overall, these elements create an effective image which makes the reader smile and wonder what’s going to happen next.

Written analysis

Understanding

Engaging Personally

Engaging Critically

Experimenting