2012 Module A Advanced
Set texts: Richard III and Looking for Richard
Lyn Tiernan - Casino High
Rationale
Lesson Notes
The examination questions
are drawn from the rubrics.
This module requires a fair
bit of ‘building the field’ for
students to engage with the
texts and the concept of the
module. By generating a set
of questions from the rubrics
students will have a place to
revise, an idea of what they
will be learning about and
begin soaking up the
extensive information needed
to do well in this module.
Introducing Module A
Redraw the map showing how the Modules and AOS are connected. Review
the work we have done in Module B and AOS. Remind students that anything
they learn in one module connects to the things they learn in other modules.
The course is integrated, not a series of separate units. In Module A we
consider the influence of context on meaning. They develop a deep
understanding of the ways context influences the meanings in a pair of texts.
Use the syllabus rubric to introduce the key elements of this Module and
‘build the field’ for students by giving them information on the texts and the
contexts. This discussion and note-making will take several lessons. The task
for students is to create a set of guiding questions, based on the rubrics, for
their study of the Module.
Defining the effects of contexts and questions of value.
How is each text influenced by the composer’s context?
General list on the contexts of the two composers.
What are the questions of value asked by the two composers?
Brief recap of the story of the play and the aim of the documentary followed
by questions that might be asked. eg: Is the right person on the throne? Has
this play any relevance to the lives of modern Americans?
What are the social, cultural and historical contexts of each text?
Define social, cultural and historical contexts generally drawing on their work
in Preliminary, Module B and AOS. Then look specifically at the contexts of
each text. Issue notes on contexts and read with students.
“social, cultural and historical context influences aspects of texts”
What aspects of each text will be influenced by these contexts?
Begin by reviewing what aspects of previous texts (poetry of Gwen Harwood
and The Joy Luck Club) have been influenced by the social, cultural and
historical contexts of the composers. Working in pairs students generate
three ‘aspects’ of the two texts set for study that might be influenced by
the context of the composers. Collate class list. Additional notes on each to
‘build the field’
By tying the information
imparted to the rubric
questions students begin to
extend their knowledge and
are introduced to the
contexts and details of the
two texts, which should help
them when they come to a
closer engagement with the
two texts. Students have
copies of both texts and are
encouraged to view the film
and read parts of the play.
This is another opportunity
to review previous work and
build on students’ prior
learning. The list produced
by students allows more
information about the
contexts, the composers and
the texts to be shared and
things for students to look
for in future study and their
own reading.
I continue here to ‘build the
field’ and narrow the focus
to notes students need to
engage with the module.
Since I plan to move between
the two texts during the
unit, I am modelling the
compare/contrast element of
this study.
“changes in context lead to changed values being reflected in texts.”
What are the changes in context?
List these under the two text titles.
What are the changed values?
List these under the two text titles. Check definition of ‘values’ and students
understanding through referring back to work on values in preliminary and in
syllabus glossary.
This is the part of the rubric
that stays the same for both
electives. By ‘pre-empting
the work we will be doing,
students begin examining the
texts with a great deal of
prior knowledge. Since I have
no intention of studying
every aspect of each text, I
have signposted, for
students, the things to pay
attention to.
Students need to begin
thinking for themselves.
Over the next few lessons
input form the teacher is
gradually reduced and more
of the students thinking is
required.
The quote quest serves a
number of purposes. It
familiarises students with
both the plot and the
language and provides them
with a summary and some
useful quotes for essays.
The animation is short and
has a particular perspective
on the themes and
characters. Students are
quickly introduced to the plot
and characters and consider
the particular reading of the
play in the animation.
“study and use of the language of texts consideration of purposes and
audiences, and analysis of the content, values and attitudes conveyed
through a range of readings.”
What is the language of the two texts? Consider form, and conventions.
What is the purpose? Note each composer’s intentions and the point they are
making.
Who are the intended audiences for each text? Outline typical audiences of
Richard 3rd and evidence of Pacino’s intended audience.
How do we analyse the content of each text? Outline the content.
What different values are conveyed in each text? Outline different values
conveyed.
What different attitudes are conveyed through a range of readings? Review
‘range of readings’ from previous work. Identify different perspectives that
we can bring to each text.
“Elective: Exploring Connections”
Generate a list of questions prompted by the prescriptions rubric and the
elective:
 How does the text Richard III influence our thinking about Looking
for Richard?
 How does Looking for Richard influence our thinking about Richard
III?
 What is the nature of the connections between them?
 Explain and evaluate the influence of the composer’s context on your
response to each text.
 What connections are implicit? What connections are explicit?
 Identify the direct and indirect references.
Summarise a list of topics we will explore: legitimacy, Divine justice, Tudor
myth, Free will and Providentialism, Renaissance, Power of language, status of
men and women, history and the rewriting of history, intertextuality,
Getting into the play 1
Students complete a ‘Quote quest’ on Richard 3. They match quotes from the
play with statements that summarise the meaning or action. Begin with
students working alone, then move to pairs and finally to teams. Work
through correct answers before end of lesson.
Students can follow this up by finding the quotes in the play and getting some
idea what is happening around each quote, and who is involved.
Getting into the play 2
View BBC animation of the Richard III and answer quiz questions on
character and plot.
This task forces students to
engage with the ‘word on the
page’ of the play. During the
unit they will have many
opportunities to do this
ensuring they become
familiar with the language
and can locate scenes and
other information easily. The
final task should elicit key
ideas and model preparing to
write about the play.
Students need to know the
end product. By working
through a sample essay they
have an idea of what to pay
attention to during this
module and their essay skills
are reinforced.
Imagery in Richard III (From Thinking Shakespeare by Jeff Lilly)
Students complete the table by finding the quote in the text, checking the
meaning in context and explaining the imagery. This can be done for
homework or as a pair task in class. Discuss the things they notice about the
imagery. What are the patterns? Look for recurring themes and ideas.
Then complete ‘What happens after’. In this task students have to locate the
event in the text and work out what comes next in the plot. Again discuss the
things they notice: patterns, insights into the ideas in the play.
Do a Numbered Heads together on these observations. As they are written
up for students to copy, list the evidence from the task sheets. Point out
that the observations they have made are “points’ for PEAL paragraphs.
Looking at an essay
Issue a sample essay on Module A. Students read the essay in pairs, using
highlighters and annotating to locate the thesis, topic sentences, technical
language evidence, explanations, references to context. Ask students to
identify PEAL.
Students summarise the argument in one paragraph, and make a list of
techniques/features and evidence.
Students have the question
at the beginning of the unit.
They are encouraged to go
back to the question once a
week and make some notes on
how they might answer the
question at this point, using
available evidence and
practicing embedding quotes.
It is necessary that students
get into the habit of
analysing the texts and
looking for the connections
between them. The title of
the film says it all. Richard is
a fascinating character and
Pacino seeks to demonstrate
the relevance of this play
despite its strong historical
context that appears to have
no significance for a modern
audiences.
In ‘the quest’ segment
before the scenes we look at
in this lesson, Pacino tells us
he wants to show the viewer
his passion for Shakespeare
and find something relevant
in the play that a modern
American audience can take
way with them. In ‘the play’
he acknowledges the
difficulties a modern
Assessment Task
Guide students through analysis of question: Topic, task and thesis. Draw
attention to thesis statements. Revise essay structure, use of quotes and
technical language.
The character of Richard.
Explain to the class that we will be looking at two aspects of the connections
between the texts: the characterisation of Richard and the theme of divine
justice.
Brainstorm the nuances of meaning in the title of the film: Looking for
Richard. While viewing the opening ask students to do See Think Wonder,
then Stand Pair and share. View the opening of the film and discuss the
juxtaposition of the voice over, the image of the old church and the
basketball court, the demand in the gaze, the title graphic. Make a list of
techniques/technical language. Look at the way social, cultural and historical
context shapes the opening. Show Thesis statements.
Viewing the next few scenes of the film
View “The Play” segment of the film. Ask students to do See, Think, Wonder.
Make notes on how the context (social, cultural and historical) is shaping the
film. Look at the first ‘characterisation’ of Richard that Pacino makes (the
hump back, black clothed figure coming down the steps towards the camera)
as a visual metaphor, bringing Richard out of the script and off the monument
and onto the street. Explain the connection between the visual metaphor, the
purpose and the intended audience. What is our reaction? What are our first
impressions? Pacino begins to morph from the all American everyday kind of
audience has with the play,
particularly the historical
context and draws our
attention to the character.
person into Richard. This segment also has the first attempt to explain the
plot and the first short scene from the final film. Why that scene?
Students need to understand
the post modern act that
Pacino undertakes here – re
inventing both the play and
the character and consider
the ‘questions’ of value. This
will also build some field for
their study of History and
memory.
Post modernism
View slideshow on Post modernism ( on Edmodo in Richard 3 folder)
Discuss the way the characterisation of Richard is located in history and in
the modern context of Pacino’s documentary. Introduce post-modernism
Explain and write some notes using the slideshow. Pacino is involved in a very
post modern act in making this film, ‘writing back’ to the play in a modern
context. Identify features of the text that signal the influence of the post
modernistic context. What are Pacino’s ‘questions of value’?
The many faces of Richard (From Thinking Shakespeare by Jeff Lilly)
Begin with some think time where individuals try to match the ‘face’ to the
quotes. (About 5 minutes). Then move into teams to explore each ‘face’ a bit
further. The ‘faces’ can be divided up among the teams.
This task again forces
students back into the play
to locate quotes and
establish the context of the
quotes. The objective is that
students become familiar
with the character of
Richard within the play. It
also provides them with a
range of quotes to support
thesis statements.
The main aim here is that
students form opinions about
the representation of
Richard and have a good
knowledge of his role in the
play.
The discussion should move
students towards an
understanding of the way
context influences the text
and recognising that
Richard’s character is
constructed to serve
Shakespeare’s purpose.
Students must refer to the scenes in the play that the quote comes from and
justify their choices. Use an A3 sheet, write the ‘face’ in the centre, add the
quotes and explain the meaning, explain the context (within the plot of the
play), identify the effect of techniques (imagery, dramatic irony, symbolism).
Explain how Shakespeare’s social, cultural and historical context is shaping
the play in these quotes/scenes. Add any other quotes from the relevant
scenes to support their choices or elaborate on the ‘face’. Allow about 20
minutes for the team task. Share with the class.
Discussion of Richard’s ‘faces’
During the discussion students need to make notes. After the discussion they
will summarise. Write the questions up on the board. Allow some think time
for each one then discuss each in turn.
What does it say about Richard that he has so many faces? What do you
learn about the character from this task? How do these ‘faces’ reflect
Shakespeare’s purpose? Are some ‘faces’ more important than others within
the play? What makes you say that?
Students write notes summarising the discussion. They are writing a summary
– not answering each question – and should practice extended PEAL. Put the
extended PEAL list up on the board: Writer’s intention, Language Analysis,
Audience reaction, Link to Literature, Social/Historical Context, Cyclical
Connection
Context and the characterisation of Richard in the play.
How are these ‘faces’ shaped by historical, social and cultural context?
Create a table with the column headings: Social, Cultural, Historical and the
row headings King Richard III and Looking for Richard.
review Machiavellianism, Tudor Myth, Providentialism, Morality plays and the
Vice.
Summarise the discussion in table, Row 1. Lead the class fairly quickly
through this – telling rather than eliciting ‘answers’.
Pacino deliberately
constructs an interpretation
of Richard in the first
section of the film (up to
about 47 minutes). In this
first section he establishes
Richard as a schemer,
manipulative and ‘cheeky’. He
constantly and humorously
gazes into the camera.
Pacino draws our attention
repeatedly to Richard as a
construction. His Richard is a
master manipulator but he
also suggests it was needed
to survive in this world. He
continues to pay homage to
Shakespeare drawing our
attention to the dramatic
irony and students should
also consider the pastiche of
mixing the documentary with
the scenes from the play.
They should also keep
reflecting on Pacino’s Richard
influenced by a 20th century
social, cultural and historical
context.
Pacino foregrounds Richard’s
audacity and determination
to succeed and there is
definitely an element of
admiration in Pacino’s
approach. This scene
provides the evidence for
contrasting Shakespeare’s
3-2-1 Bridge (Visible Thinking routine)
Students write three thoughts about Richard, 2 questions and one analogy on
a slip of paper. Collect these for feedback and ask students to save them.
Homework: identifying the scenes from the play not used by Pacino in the
film.
Pacino’s characterisation of Richard 1
Remind students we are looking for the connections between the two texts
and how different values are represented in different times.
In the next few lessons they will be analysing the different ‘faces’ of Richard
as Pacino tells it.
View the film segment 9.25mim to 17 min. (scene 4 in scene selection) This is
in “Act 1”. While viewing students should look for: Pacino’s comments on the
character, the ways Pacino constructs the character, the use of editing to
shift between Pacino in ‘real’ time and Pacino as Richard, the purpose of
repeating lines, Pacino use of gaze and what is he demanding of the audience?
Double Entry Notes work well here. (Things they notice, techniques, quotes
and descriptions of cinematic features on the left; comments, questions and
reflections on the right.).
Review Pacino’s context: modern America, determinism, cinematic tools
(pastiche), homage, cultural capital of Shakespeare’s plays.
As a class discuss the ways Pacino’s social, cultural and historical context is
shaping the segment. Add to table from previous lesson.
Pacino’s characterisation of Richard 2
Writing (half Page) Comparing Shakespeare’s representation of Richard to
Pacino’s. Include one difference and one similarity. Write two PEAL
paragraphs. Use notes. Students must include some technical language!
In this lesson we view another clip from the first section of the film, where
Pacino explains the ‘family quarrel’ that has erupted between Richard and
Edward’s queen. (28mins- 30.40 minutes. Stop at the title graphic
“Margaret”)
While viewing students should again takes notes: draws attention to dramatic
irony, internecine (conflict within the group or organization, mutually
destructive) quarrel? Pacino’s comments on Richard’s actions and what Pacino
is saying about Richard as a character, ‘the world they live in…”, political
manoeuvring and conspiracy, technique of cutting backwards and forwards
between rehearsal and costume blurs the line between fiction and fantasy.
How does Pacino draw attention to Richard’s character as a construction?
Comment on post modernism. Add to social, cultural and historical context
table.
Pacino’s characterisation of Richard 3
In this lesson we look at 35-41.4 minutes. It begins with Pacino’s comments
about casting ‘someone very young’ to play Lady Anne. Key questions for
discussion:
 How does Pacino feel about Richard? How do you know? (admiration?)
 Does Pacino have the right to ‘speak directly to the camera’?
 What does this scene tell us about Pacino’s ideas about Shakespeare?
characterisation and Pacino’s,
reflecting the different
contexts of each composer.
Pacino characterisation of
Richard culminates in this
final battle. He frames
Richard alone in a vast filed,
surrounded by archers who
shoot him, mostly in the
back. Close analysis of this
scene in the film provides
students with evidence in
connecting the two texts
through the characterisation
of Richard.
A disjunction between the
two texts occurs when we
start discussing divine
justice. Shakespeare’s
Elizabethan context is
influenced by a belief in
divine justice. Students will
consider scenes from the
play with this in mind.
Pacino foregrounds the
character of Richard as the
centre of his film. The scenes
not used are considered in terms
of the questions of value asked
by both composers. This scene is
particularly useful because it
draws our attention to the
effect of the War of the Roses
on ordinary people and their
belief in God’s will or
Providentialism.
These scenes build students
knowledge of the play with
particular reference to
divine justice. They
demonstrate a theme in the
play that consistently
reminds the audience that
Richard and other characters
have transgressed God’s
laws, in Elizabethan terms.
(actors are the proud inheritors’)
 Does Pacino represent Richard as evil? Justify with evidence.
Students view the scene taking notes and recording quotes, then discuss
questions and write substantial answers to the questions.
Pacino’s characterisation of Richard 4
In this lesson we look at Richard’s death, 137.13-141.13. We view this scene
doing a close analysis of the cinematic tools Pacino’s characterisation of
Richard. Define dissolve, cinema verite and filters before viewing. As an
audience we respond to Richard’s almost heroic stance at the end and this is
supported by Pacino’s framing, use of close ups, long shots, high and low angle
shots and the jubilant ringing of the bells with the final cut to Pacino back in
the city on the steps of the cathedral.
In discussion compare Richard’s death in the play to the film. How does Pacino
account for Richard’s death? Did he deserve to die or did he just run out of
allies?
Extended Writing: Explain how Pacino feels about Richard and how we
respond as an audience.
Divine Justice and Retribution 1
Read notes on Providentialism v free will, divine justice and retribution in
Elizabethan England. Power point on Providentialism v Free will. Read scene
and analyse Richard’s false piety in 3:7.
Homework questions on: ‘Determined to prove a villain: Richard III’, The
Cambridge Introduction to Shakespeare’s History Plays
Back to the play – scenes not used by Pacino in the film.
Working in teams of three, students read/act out Act 2, scene 3 several
times and then these questions. (Three Citizens scene)
1. What happens before and after this scene in the play? How does it advance
the plot? Why is the scene there?
2. Work out the state of mind of each character? How does he or she feel
about what's going on? How do you know?
3. Find all the references to God, to the soul, to destiny. What do these
characters believe?
4. Find any references to past events in history. Why do we get this
information at this point?
5. Find the comments on other characters in the play. Who are they and what
do the citizens think of them?
Extended writing: "How does Act 2, scene 3, demonstrate the influence of
the social, cultural and historical context on the play Richard III?" using the
quote "who shall be nearest shall touch us all to near".
Exploring scenes from the play.
Working in teams, students complete a similar analysis of 5 or 6 other scenes
in the play. 1:4, 3:3, 3:5, 3:6, 4:1, 4:5, 5:1, 5:2. Prepare a poster for display.
Questions:
1. What happens before and after this scene in the play? How does it advance
the plot? Why is the scene there?
2. What happens in this scene? Who is involved? What are their motivations?
3. Find references to divine justice and historical context. Identity quotes on
conscience, retribution and justice. Explain quotes.
4. Note any imagery used. Consider purpose and effect, characterisation.
NHT – discuss: why does Pacino choose not to include these scenes in the
film? What do they add to our understanding of the play? Are they relevant
to a modern audience? Why/why not?
This scene is significant
The ghost scene, 5:3
because it provides a
This scene is used in Pacino’s film. View and analyse Pacino’s treatment of the
connection between the two
scene.
texts that highlights both
Read the scene in the play and make notes on content, language and structure.
similarities and differences
in values influenced by
Identify and explain useful quotes. Consider the placement of the scene.
changes in context.
Make links to cultural context and determinism.
Extended writing: How does Pacino’s treatment of this scene reflect changed
values?
Students need to consolidate Divine Justice and Retribution
their understanding of the
Mindmap terms on board: justice, retribution, Providentialism, determinism.
influence of divine justice
Link to events and scenes in the play. Find quotes to support perspectives.
and retribution on the
Link to cultural context of the play.
characterisation, plot and
structure of the play.
Compare to Looking for Richard – is this an important consideration in the
film? Is it reflected in the characterisation of Richard, the discussions of
the plot or any scenes in the film?
Extended writing or Homework: What does this list of scenes tell us about
Pacino’s ideas about the play and its relevance to a modern audience?
Students should have been
Assessment Question
developing their responses
Revise Topic, Task and Thesis using the set question and work through the
throughout the unit. This
Thesis page. This includes four theses students can use and a way to develop
lesson is used to refine their
their own.
thinking and scaffold essays.
Make a list of main points to support thesis statements. (Work in pairs or
teams). Add evidence for each main point.
Remind students of the types Summarising the Module and Elective.
of questions asked for this
Guide students through summarising and consolidating their learning in this
Module and ensure they have
Module. Go back to the rubric. For each question students need to write a
enough material to answer
response and identify evidence. Vary the ways they work in this process.
the different questions.
Include teams and pairs, whole class and independently.
 How does the text Richard III influence our thinking about Looking
for Richard?
 How does Looking for Richard influence our thinking about Richard
III?
 What is the nature of the connections between them?
 Explain and evaluate the influence of the composer’s context on your
response to each text.
 What connections are implicit? What connections are explicit?
 Identify the direct and indirect references.
They also lead us to consider
the changed values that
influence Pacino’s film.