Perceptions of Culture | Stage 5 | English
Summary / Unit Overview
In this unit, students will explore how texts represent cultural values, and they will consider how their own perceptions of culture can be shaped and
transformed by the study of texts. They will also consider the differences between perceptions of culture and cultural perspectives. Students’ view of the
world will be broadened as they evaluate the effectiveness of the representations of culture found in nonfiction, film and poetry.
Outcomes
Duration
English K-10
Term 1
›
10 weeks
EN5-1A responds to and composes increasingly sophisticated and
sustained texts for understanding, interpretation, critical analysis,
imaginative expression and pleasure
›
Detail: Weeks 1-10
EN5-3B selects and uses language forms, features and structures of
texts appropriate to a range of purposes, audiences and contexts,
describing and explaining their effects on meaning
›
EN5-6C investigates the relationships between and among texts
›
EN5-7D understands and evaluates the diverse ways texts can represent
personal and public worlds
›
EN5-8D questions, challenges and evaluates cultural assumptions in
texts and their effects on meaning
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
1
Text requirements
Text overview
Assessment overview
1. Close study of: poetry, nonfiction and film.
Poetry: Jack Davis, ‘The First-born’, ‘The Black
Assessment for learning
Tracker’, ‘Rottnest’, ‘Death of a Tree’, ‘Mining
Company’s Hymn’, ‘Integration’
Nonfiction: Peter Carey, Wrong About Japan
Film: Chen Kaige, Together
2. Examples of: print and visual texts.
Print: Peter Carey, Wrong About Japan; Jack
Davis, ‘The First-born’, ‘The Black Tracker’,
‘Rottnest’, ‘Death of a Tree’, ‘Mining Company’s
Hymn’, ‘Integration’
Visual: Chen Kaige, Together
3. Experience of:
Resources:
 Quality literature
Carey, P. (2005). Wrong about Japan. London:
 Australian literature
 Aboriginal experiences
 Intercultural experiences
 Insights about peoples and cultures of Asia
Faber and Faber.
Chen, K. (Director). (2002). Together [Motion
Picture]. China: 21st Century Shengkai Film
Company.
 Group presentations
 Writing of analytical paragraphs and an essay
 Visual representations
 Analysis tables
 Poetic compositions
Assessment as learning
 Reflections on cultural assumptions, values,
ability to work individually and in a group
Assessment of learning
Outcomes: EN5-3B, EN5-7D, EN5-8D
Weighting: 20%
Description: Students present a speech, which
consists of an integrated analysis of the ways in
which an image which they have created visually
represents their understanding of a cultural
Chesson, K. (1988). Jack Davis: a life-story.
value explored in the film, and the ways in which
 Cultural, social, gender perspectives
Melbourne: Dent.
the director has used his film to visually
 Popular and youth cultures
Davis, J. (1991). A boy’s life. Broome: Magabala
represent cultural values.
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
2
 Environmental and social sustainability
Books.
 Nonfiction
Heiss, A., & Minter, P. (Eds) (2008). Macquarie
 Film
pen anthology of Aboriginal literature. Crows
Nest: Allen & Unwin.
Kinsella, J. (Ed.). (2009). The Penguin anthology
of Australian poetry. Camberwell: Penguin.
Paige, G. (1995). A reader’s guide to
contemporary Australian poetry. St Lucia:
University of Queensland Press.
Said, E. W. (1978). Orientalism. London:
Vintage.
Tylor, E. B. (1871). Primitive culture:
Researches into the development of mythology,
philosophy, religion, art, and custom. London:
John Murray.
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
3
Content
Teaching, learning and assessment
Stage 5 - Outcome 6
Part 1: Introduction to Perceptions of Culture
Students:
Students:
 Develop and apply contextual knowledge
 are given a copy of Peter Carey's Wrong About Japan and are asked to read it by the beginning of
 investigate, hypothesise and explain the
ways a concept may be reinterpreted over
time through different texts and media
 Respond to and compose texts
 research, analyse and explain the treatment
of a common theme or idea in a range of
texts in different modes and media
Stage 5 - Outcome 8
Students:
 Engage personally with texts
 create texts to demonstrate their view of the
Week 4. They are given a question to consider as they read: ‘How does Carey’s text shape your
perception of the Real Japan?’
 compose a response in five minutes to the question, 'What is culture?' This may be in any form
that they choose, including a diagram, mindmap, list, sentences or paragraph. They are then given
five minutes to share their response with a partner. A member from each pair then comes to the
whiteboard and writes a dimension of their definition on the board, taking care not to repeat
material that has been offered by other pairs.
Teacher:
 leads a class discussion about culture that elaborates on students' prior knowledge, adding to the
material recorded on the whiteboard.
 shares Edward Burnett Tylor's definition of culture from Primitive Culture, 1871, explaining key
terms: "Culture or civilisation, taken in its wide ethnographic sense, is that complex whole which
world with reference to the texts of other
includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits
cultures
acquired by man as a member of society."
 analyse and explain the ways in which
particular texts relate to their cultural
experiences and the culture of others
Students:
 highlight key terms and ideas in the extract from Tylor, annotating with the definitions of any
unfamiliar words.
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
4
Content
Teaching, learning and assessment
 Develop and apply contextual knowledge
 write a response to the question, ‘What kinds of cultural assumptions are implied in this extract?’,
 identify, explain and challenge cultural
values, purposes and assumptions in texts,
including representations of gender,
ethnicity, religion, youth, age, disability,
sexuality and social class
 Respond to and compose texts
 analyse and describe the ways texts sustain
or challenge established cultural attitudes
and values
supporting their response with evidence from the extract.
Teacher:
 asks students to indicate their prior understanding of Eastern and Western culture, using a world
map as a reference. Students may define these labels, identify certain countries that are generally
described as ‘Eastern’ or ‘Western’, and perhaps suggest the connotations that are attached to
these broad definitional categories.
Students:
 remain in pairs, with half of the pairs being allocated to focus on Eastern culture, while the other
half focus on Western culture.
 use print and/or Internet sources to research philosophy and religion, science and technology, and
literature and the arts for either Eastern or Western culture in their pairs. They also compile a list
of ten significant texts in different modes and media that represent how Eastern or Western culture
has been reinterpreted over time.
Print texts to use for research:
 Cambridge Companions to Culture series published by Cambridge University Press.
 Culture In series published by Heinemann.
 Global Cultures series published by Raintree.
 Greenwood Encyclopedias of World Popular Culture published by Greenwood Press.
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
5
Content
Teaching, learning and assessment
 Lands, Peoples, and Cultures series published by Crabtree.
 World Art and Culture series published by Raintree.
 combine with another pair who studied a different culture to form a group of four. Each pair then
teaches the other pair what they have learnt, and the group collaboratively records the results of
their investigations in a table to enable clear comparison and contrast.
 engage in a class discussion about the limitations of this division of culture into East and West.
This discussion may consider that such a division does not fully acknowledge the extent of cultural
diversity, excludes many regions of the world, does not recognise indigenous cultures and may
encourage a tendency to characterise these cultures as 'primitive' or 'less evolved', and may be
less relevant in an increasingly globalised world.
Assessment as learning
 Students compose a 200-word written reflection in response to the question, 'How do our cultural
assumptions shape our views of the world?'
 The teacher reads these reflections to ascertain the depth of students' reflections and adjust the
following activities as required.
Teacher:
 enhances students' understanding of the problematic distinction between Eastern and Western
culture by introducing the work of Edward W. Said in Orientalism, 1978. "The Orient [the East] is
not only adjacent to Europe [the West]; it is also the place of Europe's greatest and richest and
oldest colonies, the source of its civilisations and languages, its cultural contestant, and one of its
deepest and most recurring images of the Other. In addition, the Orient has helped to define
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
6
Content
Teaching, learning and assessment
Europe (or the West) as its contrasting image, idea, personality, experience."
 asks students to consider why literary texts in different modes and media may be particularly
important in shaping discussions about culture and how it has been reinterpreted over time, and
guides a brief class discussion about the relationship between texts and cultures.
 emphasises the dynamic relationship between texts and cultures: texts both shape and are
shaped by their cultures.
Stage 5 - Outcome 1
Part 2: Jack Davis's Poetry
Students:
1. Perceptions of Aboriginal Culture
 Engage personally with texts
Students:
 appreciate, explain and respond to the
 work in groups of three or four to collect ten images that represent how Aboriginal people in
aesthetic qualities and the power of
Australia have been perceived over time. These images will be sourced from Internet and/or print
language in an increasingly sophisticated
sources. They should be dated and represent a diverse range of perspectives, including colonial
range of texts
and postcolonial perspectives, and should include images created by both Aboriginal and non-
 Understand and apply knowledge of language
forms and features
 identify how vocabulary choices contribute
to specificity, abstraction and stylistic
effectiveness (ACELA1561)
Stage 5 - Outcome 3
Aboriginal people. Students will also be reminded of Said’s discussion of ‘the Other’, and will be
asked to consider to what extent the images that they find represent perspectives of Aboriginal
people as ‘the Other’.
Assessment for learning
 Groups select and present three or four of their images to the class, explaining the provenance of
each and perspective represented and justifying their selection. Each student in each group will be
expected to speak about one image.
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
7
Content
Teaching, learning and assessment
Students:
 The teacher will provide verbal feedback to the group on their selection of images and the insights
 Engage personally with texts
 engage with a range of increasingly complex
language forms, features and structures of
texts in meaningful, contextualised and
authentic ways
 compare and evaluate how 'voice' as a
literary device can be used in a range of
different types of texts such as poetry to
evoke particular emotional responses
(ACELT1643)
provided by their discussion.
2. Background to Jack Davis
Students:
 learn about Jack Davis and his poetry by reading and highlighting key points in selected extracts
from Macquarie Pen Anthology of Aboriginal Literature, A Boy's Life, Jack Davis: A Life-Story,
and/or A Reader's Guide to Contemporary Australian Poetry (see list of Resources on pp. 2-3 for
full references).
3. Close Study of Davis's Poetry
The teacher's selection of poems and activities will enable differentiation.
Stage 5 - Outcome 6
Poems have been taken from Macquarie Pen Anthology of Aboriginal Literature and The Penguin
Students:
Anthology of Australian Poetry.
 Develop and apply contextual knowledge
(i) 'The First-born'
 research and explore the texts of specific
composers, eg a novelist, poet, filmmaker or
Teacher:
 models how to annotate a poem using Davis's poem 'The First-born', identifying poetic techniques
dramatist, considering themes, language
and analysing how they convey meaning. Annotations will focus on the poem's aesthetic qualities
techniques and similarities and differences in
and the power of its language and how the 'voice' of the land is used to provoke a particular
their works
emotional response. (See sample of annotated poem at end of the unit p.31)
Stage 5 - Outcome 7
Assessment for learning
Students:
 Students compose a well-structured analytical paragraph in response to the question: 'What is the
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
8
Content
 Engage personally with texts
 explore and reflect on their own values in
relation to the values expressed and
explored in texts
 reflect on personal experience and
broadening views of the world by responding
to the ideas and arguments of others with
increasingly complex ideas and arguments
of their own
 Develop and apply contextual knowledge
 evaluate the ways personal perspective and
language choices affect meaning and can be
shaped by social, cultural and historical
influences
 understand that people's evaluations of
texts are influenced by their value
systems, the context and the purpose and
mode of communication (ACELA1565)
 explore and reflect on personal
understanding of the world and significant
human experience gained from interpreting
various representations of life matters in
Teaching, learning and assessment
effect of Jack Davis's personification of the land in 'The First-born'?' Students' arguments should
be supported by detailed analysis of a selection of poetic techniques, such as imagery, repetition,
rhetorical questions, alliteration, the imperative voice, the use of the second person, etc.
 The teacher provides written feedback on the argument, analysis, structure and written expression
of students' paragraphs.
(ii) 'The Black Tracker'
Students:
 use Internet and/or print sources to research the expeditions of Eyre, Burke and Wills, focusing on
the role that Aboriginal people played in these expeditions. (The Burke & Wills Web Digital
Research Archive is a useful resource: http://www.burkeandwills.net.au/index.php - accessed
25/7/14). It is likely that students will find more information on the British explorers than on the role
played by Aboriginal people.
 in a class discussion, will be asked to reflect on what their discoveries reveal about prevailing
perceptions of Aboriginal people. What kinds of gaps and silences are present in the texts about
these expeditions? How does this relate to Said’s notion of ‘the Other’?
 read Davis's poem 'The Black Tracker' carefully, identifying poetic techniques and analysing how
they develop Davis’s characterisation of the tracker, convey meaning and position the reader.
Assessment for learning
 Students compose a well-structured analytical paragraph in response to the question: 'How does
Jack Davis's characterisation of "The Black Tracker" seek to reshape the reader's perception of
the role played by Aboriginal people in the exploration of Australia?' Students' arguments should
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
9
Content
texts (ACELT1635)
 evaluate the social, moral and ethical
positions represented in texts (ACELT1812)
Teaching, learning and assessment
be supported by detailed analysis of poetic techniques.
 The teacher provides detailed written feedback on the argument, analysis, structure and written
expression of students' paragraphs.
(iii) 'Rottnest'
 Understand and apply knowledge of language
forms and features
 use and analyse increasingly complex
language features to present a viewpoint on
issues such as environmental and social
sustainability
 Respond to and compose texts
 explore and analyse ethical positions on a
current issue, including the values and/or
principles involved, in digital communication
forums
Stage 5 - Outcome 8
Students:
 Understand and apply knowledge of language
forms and features
 examine how language is used to express
Teacher:
 shows students Sally Morgan's painting Greetings from Rottnest (1988). See
http://www.artgallery.wa.gov.au/collections/documents/sally_morgan.pdf for an image of the
painting or http://www.theaustralian.com.au/arts/review/rottnest-islands-dark-past/story-fn9n8gph1226536762779 for an article (both sites accessed 25/7/14).
 takes students through a see, think, wonder thinking routine.
Students:
 write down all that they see, then they write down what they think the painting represents, and
finally they write down what the painting makes them wonder about. There will be brief class
discussions after each stage, and at each stage, there should be evidence of a development in the
depth of students' thinking.
 research depictions of Rottnest Island using at least five Internet sources. Students will observe
that beneath the tourist-friendly image of Rottnest Island as an idyllic holiday destination lies the
history of the imprisonment of the Noongar people, which is depicted in Sally Morgan's painting.
Students should recall that Jack Davis is a Noongar person.
 read Jack Davis's poem 'Rottnest' carefully, identifying poetic techniques and how they convey
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
10
Content
contemporary cultural issues
 explain and evaluate the ways in which
modern communication technologies are
Teaching, learning and assessment
meaning. Students should particularly focus on the free verse form and absence of punctuation
(noting the contrast to the poems previously studied), as well as the impact of the poem's imagery.
 compare the representations of Rottnest in Sally Morgan’s painting and Jack Davis’s poem. What
used to shape, adapt and re-present past
does each composer have to say about this iconic place? What are the similarities and differences
and present cultures, including popular
in their representations?
culture and youth cultures, for particular
audiences
 Respond to and compose texts
 explain and analyse cultural assumptions in
Assessment for learning
 Inspired by Sally Morgan's painting, their Internet research on Rottnest Island, and their analysis
of Jack Davis's poem, students individually create visual representations of the poem. These
representations should be created using computer software, such as Adobe Photoshop, and they
texts, including texts by and about Aboriginal
should reflect the tension between Rottnest Island's idyllic appearance and its tragic history.
Australians
Students should also incorporate key words and phrases from Jack Davis's poem into their visual
representations which will be displayed/published for the whole class.
 Students compose a 200-word annotation for their visual representation that explains and justifies
their choice of words and images and what they were trying to say/represent.
Assessment as learning
 Students write a 200-word evaluation of a visual representation created by one of their peers.
(iv) 'Death of a Tree'
Students:
 annotate Jack Davis's poem 'Death of a Tree' carefully, identifying poetic techniques and
analysing how they convey meaning.
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
11
Content
Teaching, learning and assessment
 engage in a class discussion about how the 'voice' of the speaker is used to provoke a particular
emotional response, and how the poem's meaning is created through Jack Davis's use of free
verse forms, particularly varied sentence and line lengths. Each sentence is highlighted in a
different colour to illustrate the varied sentence lengths, and to assist students with unpacking
their effect.
Assessment for learning
 Students create a table with two columns to illustrate how the poem's meaning is built through
antithesis, e.g. woman vs. man, nature vs. machine, life vs. death, loss vs. gain. Students find
quotations to illustrate each antithesis.
 Students are guided by the teacher in peer-marking a partner's table.
(v) 'Mining Company's Hymn'
Students:
 listen to the Christian hymn of Psalm 23 'The Lord's My Shepherd' with subtitles. See
https://www.youtube.com/watch?v=HndQZlmJPpc for a traditional version (last accessed 28th
May 2014).
 in small groups of three or four, summarise the meaning of the hymn in one sentence. Each group
shares their interpretation of the hymn's meaning with the class.
 read Jack Davis's poem 'Mining Company's Hymn', noting how the personal perspective provided
parodies the ideas, form and language of the Christian hymn. Discuss with a partner how the
meaning of Jack Davis's poem is shaped by social, cultural and historical influences.
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
12
Content
Teaching, learning and assessment
 annotate Jack Davis's poem 'Mining Company's Hymn' carefully, identifying poetic techniques and
analysing how they convey meaning. Students should particularly focus on how the tension
between the point of view and the parody of the hymn influences the tone of the poem. They
should also consider how Jack Davis's vocabulary choices contribute to the poem's stylistic
effectiveness.
Assessment for learning
 Students compose a well-structured and detailed, analytical paragraph in response to the
question: 'Compare the messages conveyed about environmental and social sustainability in Jack
Davis's poems 'Death of a Tree' and 'Mining Company's Hymn'.' Students' arguments should be
supported by detailed analysis of poetic techniques.
 The teacher provides detailed written feedback on the argument, analysis, structure and written
expression of students' paragraphs.
Assessment as learning
 Students write a 200-word reflection on how their own values relate to the values expressed and
explored in 'Mining Company's Hymn'. For example, to what extent do they value "wealth and
materialism" above the rights of other people? Or are they troubled by the fact that many of the
material possessions that are valued by adolescents are produced in sweatshops overseas?
(vi) 'Integration'
Students:
 annotate Jack Davis's poem 'Integration' carefully, identifying poetic techniques and analysing
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
13
Content
Teaching, learning and assessment
how they convey meaning.
 explore and analyse ethical positions on recognising Aboriginal and Torres Strait Islander Peoples
in Australia's constitution. Students visit the "Recognise" website - http://www.recognise.org.au/
(accessed 25/7/14) and read the information about why recognition is being sought. Students read
the "Recognise" blog and comment on the blog posts, using this as a digital communication forum.
If students support this cause, they may like the "Recognise" website on Facebook and/or follow
"Recognise" on Twitter. They should compose a Tweet in response to the information on the
website, condensing their opinion into 140 characters.
Assessment for learning
 In groups of three, students create a triptych to represent the poem's message, which is so
powerfully conveyed through its imagery. Each member of the group should take responsibility for
one of the poem's three stanzas, and should create a visual representation of this stanza in any
form. There should be some continuity linking the three different images, for example, through the
use of a common motif or colour scheme.
Assessment as learning
 Students demonstrate their capacity to reflect on the work of another group by 'annotating' another
group's triptych. Students select the three quotations that they believe best epitomise the three
images that comprise the other group's triptych and integrate these quotations into the three
visual images.
4. Summary
Assessment for learning
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
14
Content
Teaching, learning and assessment
 Students return to the images that they found showing perceptions of Aboriginal culture at different
times. They select one of these images and use it as the inspiration for their own poetic
composition. This composition should demonstrate the student's enhanced understanding of
perceptions of Aboriginal culture, and the knowledge about poetic form and technique that the
student has gained through studying Jack Davis's poetry.
 The teacher will provide written feedback on each student's poem.
Stage 5 - Outcome 1
Part 3: Peter Carey's Wrong About Japan
Students:
1. Perceptions of Japanese Culture
 Develop and apply contextual knowledge
Teacher:
 analyse and explain the ways language
 introduces students to the study of Wrong About Japan by explaining that, just as Jack Davis's
forms and features, ideas, perspectives and
poetry highlighted different perceptions of Aboriginal culture, Peter Carey's book highlights
originality are used to shape meaning
different perceptions of Japanese culture.
 analyse ideas, information, perspectives,
 suggests that a fundamental question that Carey is asking throughout the book is, ‘What is the
contexts and ideologies and the ways they
Real Japan?’ Ask students to reflect in a class discussion on their own guiding question: ‘How
are presented in increasingly demanding,
does Carey’s text shape your perception of the Real Japan?’
sustained imaginative, informative and
persuasive texts
 explore real and imagined (including virtual)
worlds through close and wide reading and
viewing of increasingly demanding texts
Assessment for learning
 Students collect images to digitally create a collage that visually represents their understanding of
Japanese culture.
 Students share with the class their perception of Japanese culture, which may focus on traditional
and/or contemporary aspects.
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
15
Content
Teaching, learning and assessment
2. Prior Knowledge of Textual Forms
 Respond to and compose texts
 explore and explain the combinations of
language and visual choices that authors
make to present information, opinions and
perspectives in different texts (ACELY1745)
 present an argument about a literary text
based on initial impressions and subsequent
analysis of the whole text (ACELT1771)
Students:
 complete a Think/Pair/Share activity:
Think: individually write definitions of the following terms:
 Comic
 Cartoon
 Manga
 Anime
Pair: discuss their definitions with a partner and add to the definitions that they wrote
Stage 5 - Outcome 3
independently.
Students:
Share: engage in a class discussion to develop mutually agreed-upon definitions.
 Engage personally with texts
 analyse and explain how text structures,
language features and visual features of
texts and the context in which texts are
experienced may influence audience
response (ACELT1641)
 analyse and evaluate the effectiveness of a
wide range of sentence and clause
Teacher:
 takes students to the school library to show examples of comic books and manga, looking at
examples from various times and cultures.
 reads to students the following extract from Carey's book: "Hayao Miyazaki has often been
compared to Walt Disney, but neither this nor the fact that Disney owns American rights to most of
Miyazaki’s work makes this comparison remotely apt. Miyazaki is a great, not merely successful,
artist and My Neighbour Totoro a truly masterful film that can sustain frequent viewings, a far more
serious accomplishment than, say, Bambi or Snow White.” (ch. 8, pp. 123-124).
structures as authors design and craft texts
This unit of work was written by Philippa Janu, Abbotsleigh. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright.
16
Content
(ACELA1557, ACELA1569)
Teaching, learning and assessment
 shows students brief extracts from My Neighbour Totoro, Bambi and Snow White and the Seven
Stage 5 - Outcome 6
Dwarfs (numerous examples are available on YouTube), encouraging students to see Studio
Students:
Ghibli and Disney films as part of particular genres with recurring features, including storylines,
iconography, value systems and techniques.
 Understand and apply knowledge of
language forms and features
 investigate and describe the recurring
Assessment for learning
 Students complete a table comparing the following features in Studio Ghibli and Disney films:
features of particular genres, eg westerns or
 Style of animation (e.g. colour, realism)
science fiction, focusing on their storylines,
 Use of sound (e.g. dialogue, music, sound effects)
iconography, value systems and techniques
 Narrative style
 Characterisation
 analyse and evaluate text structures and
language features of literary texts and make
relevant thematic and intertextual
connections with other texts (ACELT1772,
ACELT1774)
3. Research Task on Intertextual References
Teacher:
 explains that Carey makes numerous intertextual references throughout his book, which will be
investigated more closely.
Stage 5 - Outcome 8
Students:
 divides students into eight small groups, with each group focusing on one of the following topics:
 Engage personally with texts
1.
Basho's haikus
2.
Mobile Suit Gundam
3.
Grave of the Fireflies
 create texts to demonstrate their view of the
world with reference to the texts of other
cultures
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17
Content
Teaching, learning and assessment
4.
Barefoot Gen
5.
Godzilla
6.
Blood: The Last Vampire
forms and features
7.
Astro Boy
 examine how language is used to express
8.
My Neighbour Totoro
 analyse and explain the ways in which
particular texts relate to their cultural
experiences and the culture of others
 Understand and apply knowledge of language
contemporary cultural issues
 explain and evaluate the ways in which
modern communication technologies are
used to shape, adapt and re-present past
and present cultures, including popular
culture and youth cultures, for particular
audiences
Assessment for learning
 Students collaboratively create and present a short PowerPoint presentation on their topic, which
features the following:
 details of composition, including creator/s and timeline
 summary of subject matter
 relevant YouTube clip
 explanation of significance
 explanation of relevance to your study of Wrong About Japan
 The teacher provides each group with verbal feedback on their presentation.
Assessment as learning
 Students compose a reflection on how their understanding of Japanese culture and Carey's book
has been developed through responding to different presentations.
 Students also reflect on how they worked collaboratively in their group.
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18
Content
Teaching, learning and assessment
4. The Form of Wrong About Japan
Teacher:
 discusses the textual form of Wrong About Japan, explaining how it is a nonfiction text,
which contains elements of memoir and travelogue.
 elaborates on the intertextual qualities of the text, which are particularly evident in the images
integrated throughout. Draws students' attention to the list of illustration acknowledgements on
p.159 of the text and encourages students to explore and explain the combinations of language
and visual choices made by Peter Carey by engaging in a whole-class discussion.
 discusses another aspect of the text's form, which is that it is structured as a series of interviews,
each of which leads to the development of Peter Carey's, and the reader's, understanding of
Japanese culture.
 Allocates small groups of students to interviews between Peter Carey and the following people:
1.
Yoshindo Yoshihara (sword maker) - ch. 2
2.
Mr. Yazaki (survivor of the bombing of Tokyo) - ch. 5
3.
Yoshiyuki Tomino (creator of Mobile Suit Gundam) - ch. 6
4.
Yuka Minakawa (author of Gundam Officials, Limited Edition) - ch. 7
5.
Kenji (friend of Peter Carey's, with whom he and Charley watch My Neighbour Totoro) - ch. 9
6.
Hiroyuki Kitakubo (director of Blood: The Last Vampire) - ch. 2 (preparations for interview), ch. 10
7.
Hayao Miyazaki (director of My Neighbour Totoro) - ch. 10
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19
Content
Teaching, learning and assessment
Assessment for learning
 In their groups, students read their interview carefully, and collaboratively compose an analytical
paragraph in response to the following question:
To what extent is the interview a success? In evaluating the success of the interview, you should
consider how Peter Carey's expectations are challenged by the insights provided into Japanese
culture.
 Students then post this paragraph in a communal space (e.g. on a class blog) so that it can be
shared with other members of the class.
 The teacher writes a comment on each paragraph, evaluating its argument, analysis of textual
evidence, structure and written expression.
Assessment as learning
 Students compose an individual reflection on the interview that they studied with their group in
response to the following questions:
What did you learn from studying the interview? To what extent did the interview extend your own
knowledge, ideas and perceptions of culture?
 Students within the group peer mark one another’s reflections by writing a short comment. Each
comment should mention a new insight that the marker has gained from reading the reflection,
and give the writer one further aspect to consider. Students could be given sentence starters to
assist them in composing these comments. For example, “I was interested when you…” or “This
reflection made me think more about…” and “It might be interesting to follow up on…” or “A
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20
Content
Teaching, learning and assessment
question this reflection raised for me was…”
5. The Language of Wrong About Japan
Students:
 locate examples of figurative language devices (e.g. similes, metaphors, analogies) that are used
throughout Carey's text. For example:
 “So as my son read manga and glued himself to anime, I began to wonder if we might enter the
mansion of Japanese culture through its garish, brightly lit back door” (ch. 1, p. 7).
 On Japanese woodcuts: “My point was that these illustrations – given their line, their
exaggeration – would have been right at home in a manga. In other words, the high and the low,
the historic and the modern, were built on the banks of the same river” (ch. 1, p. 9).
 “At the same time I was wondering if he was noticing the girls in geisha costumes as they
tripped down the front stairs and set off into the night, singing their charming little singsong good
nights like canaries in a cage” (ch. 2, p. 34).
 “Even before we were ushered into a parlour and Yoshihara-san asked what we wished to
know, I felt out of my depth, like a day-tripper who has somehow found himself in the presence
of Picasso” (ch. 2, p. 39).
 “Like Luke Skywalker and Han Solo looking for spare parts on the planet Xenon, we browsed in
dusty little shops selling mammoth radio valves, tiny black items identified only by the number
on the box and sometimes by a small yellow stripe like a vein of candy sandwiched in a block of
licorice” (ch. 3, p. 57).
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21
Content
Teaching, learning and assessment
 On otaku: “‘If it were England, you might think of trainspotters in anoraks. But then again, that’s
a stereotypical otaku. It’s like expecting everyone in Texas to be a cowboy. There are some
people like that, but most otakus are not’” (ch. 7, p. 107).
Teacher:
 uses the examples that students have found to revise clause and sentence structures, and
encourages students to be aware of these structures in their own writing and analysis.
Assessment for learning
 Students use the examples of figurative language that they have identified to assist them in
composing a vignette, written in the first person, which describes a new and potentially alienating
experience with the practices of another culture. This may be drawn from the student’s own
experience, or imagined and based on research. Students will be required to use figurative
language to represent their narrator’s attempt to comprehend and make sense of the cultural
experience.
 The teacher provides written feedback on students’ creative vignettes, commenting particularly on
their use of figurative language.
6. Summary
Students:
 return to the collages that they created to represent Japanese culture. They consider the kinds of
perspectives on Japanese culture that their collages represent, and discuss these perspectives in
small groups. Do their collages represent a tourist's perspective of Japan? Peter Carey's
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22
Content
Teaching, learning and assessment
perspective? Charley's perspective? Takashi's perspective?
 in the same small groups, discuss the role played by Takashi in Peter Carey's text. Students
locate the numerous times that Takashi is mentioned in the text and consider his significance.
 remaining in their small groups, use the Internet to research reviews of Carey’s book, noting that
some critiques suggest that Takashi was a fictional character inserted into the text by Carey to
build conflict. For example,
http://www.smh.com.au/articles/2004/10/22/1098316843927.html?from=storyrhs (last accessed
28th May 2014).
 engage in a class discussion about the extent to which their discoveries about Takashi reshape
their understanding of Carey’s text.
Assessment as learning
 Students compose a written reflection on how their initial impressions of Japanese culture have
been transformed through their subsequent analysis of Carey's text.
Stage 5 - Outcome 1
Part 4: Chen Kaige's Together
Students:
The assessment task should be distributed at the commencement of this stage of the unit.
 Understand and apply knowledge of language
1. Close Analysis of the Film's Opening
forms and features
 analyse and explain the use of symbols, icons
and myth in still and moving images and how
these augment meaning (ACELA1560)
Teacher:
 shows students the opening of the film to the end of the opening credits, which conclude with the
extreme close up shots of the violin.
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23
Content
Teaching, learning and assessment
Respond to and compose texts
 asks students to suggest their impressions of the symbolic meaning of the violin and predict the
 evaluate the impact on audiences of different
choices in the representation of still and
moving images (ACELA1572)
 create sustained texts, including texts that
combine specific digital or media content, for
imaginative, informative, or persuasive
purposes that reflect upon challenging and
complex issues (ACELY1746, ACELY1756)
film’s action to come.
Students:
 participate in a class discussion about how the world of the film is represented in its opening and
how a particular perception of Chinese culture is presented.
 brainstorm a list of the Chinese cultural values that are suggested in the opening.
Teacher:
 selects one of the cultural values that students identified and uses the board to model how to write
a detailed analytical paragraph to show how the value is represented in the film's opening.
Stage 5 - Outcome 3
Students:
 Understand and apply knowledge of language
forms and features
 evaluate techniques (eg contrast,
exaggeration, juxtaposition or changing
chronological order) used in spoken, written
and visual texts to, for example, construct
plot and create emotional responses
 analyse how higher order concepts are
developed in complex texts through
 informally assesses students' existing understanding of how film techniques shape meaning,
encouraging students to participate in the construction of the paragraph by locating and analysing
particular visual and sound devices used by Chen Kaige. A glossary of film techniques may be
provided to students to assist them in their analysis.
2. Film Viewing Task
Teacher:
 allocates each student to a particular character in the film. More than one student will be allocated
to each character. This allocation may be random or may enable students to be grouped by ability.
Students:
 record key scenes where the character to whom they have been allocated is portrayed as they
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24
Content
language features including
nominalisation, clause combinations,
technicality and abstraction (ACELA1570)
 understand how paragraphs and images
can be arranged for different purposes
purpose, audiences, perspectives and
stylistic effects (ACELA1567)
 refine vocabulary choices to discriminate
between shades of meaning, with
deliberate attention to the effect on
audiences (ACELA1571)
 Respond to and compose texts
 create literary texts with a sustained
'voice', selecting and adapting appropriate
text structures, literary devices, language,
auditory and visual structures and features
for a specific purpose and intended
audience (ACELT1815)
 use organisation patterns, voice and
language conventions to present a point of
view on a subject, speaking clearly,
Teaching, learning and assessment
view the remainder of the film.
 when the film viewing has been completed, compose a letter from the character that they have
been tracing to another character in the film (or a character who is mentioned, e.g. a letter from
Xiaochun to his mother), which describes the character’s feelings at a key moment in the
narrative.
 meet with the other students who have been tracing the same character and engage in a group
discussion about the character’s development over the course of the film.
 read out the letters that they have composed to the other members of their group.
 remaining in their small groups, discuss the values that their character is associated with over the
course of the film, creating a list.
Teacher:
 creates a list of cultural values explored in the film, which may include some of the values
compiled by students from their viewing of the opening and tracing of their character. The list may
include:
 Harmony
 Benevolence
 Righteousness
 Courtesy
 Wisdom
coherently and with effect, using logic,
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25
Content
imagery and rhetorical devices to engage
audiences (ACELY1813)
 compose and respond to a wide range of
visual texts, eg picture books, graphic novels
and films, using a range of appropriate
techniques and metalanguage
 use voice effects, eg tone, volume, pitch,
pauses and change of pace, for specific
effects such as arguing a point of view or
attempting to persuade an audience to a
Teaching, learning and assessment
 Honesty
 Loyalty
 Filial piety
 Self-discipline
 Commitment
 Modesty
 Prudence
 Competition
course of action
Students:
 use interaction skills to present and
 remaining in their small groups, select one of the values that they think is most pertinent to their
discuss an idea and to influence and
engage an audience by selecting
persuasive language, varying voice tone,
pitch, and pace, and using elements such
as music and sound effects (ACELY1811)
character, and decide on one scene that exemplifies how the value is presented in the film.
Teacher:
 oversees each group's selection of a key scene, ensuring that a wide variety of scenes from
throughout the film are chosen across the class.
Assessment for learning
Stage 5 - Outcome 7
Students:
 Understand and apply knowledge of language
 In their small groups, students collaboratively compose a paragraph that makes an argument
about the value and supports this argument with close analysis of the selected key scene. This
paragraph could be posted to a collaborative space, such as a class blog.
 Each group shows their key scene to the class, reads their paragraph out loud, and responds to
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26
Content
forms and features
 analyse the ways in which creative and
imaginative texts can explore human
experience, universal themes and social
contexts
 Respond to and compose texts
 respond to and compose sustained
imaginative, creative and critical texts that
represent aspects of their expanding
personal and public worlds, for a wide range
of purposes, including for enjoyment and
pleasure
Stage 5 - Outcome 8
Students:
 Engage personally with texts
 create texts to demonstrate their view of the
world with reference to the texts of other
cultures
 analyse and explain the ways in which
particular texts relate to their cultural
Teaching, learning and assessment
questions from their classmates and their teacher about the cultural value and how it is
represented in the scene.
3. Analysis of Still Frames
Teacher:
 revises the technique terms used in the analysis of still frames, emphasising how many of these
terms overlap with those used when analysing moving images. A film poster for Together could be
used by the teacher to model how to analyse a still image.
Assessment for learning
 Students individually select a still frame from the film, taking a screen shot of the still frame and
analysing how meaning is created in this image. This will assist students in their preparation for
their assessment task, which requires them to demonstrate their understanding of how to visually
represent a cultural value through a still image, in addition to analysing key scenes from the film
that explore this cultural value.
 The teacher will provide detailed annotation and written feedback on students' analysis of the still
frame.
4. Close Analysis of the Film’s Conclusion
Teacher:
 shows students the film’s conclusion once again, when the truth about the violin and Xiaochun’s
father is exposed. To hone students’ analytical skills, the conclusion should be shown once
without sound so students focus on how the images create meaning, and then should be shown
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27
Content
experiences and the culture of others
 Develop and apply contextual knowledge
 identify, explain and challenge cultural
values, purposes and assumptions in texts,
including representations of gender,
ethnicity, religion, youth, age, disability,
sexuality and social class
 Respond to and compose texts
 analyse and describe the ways texts sustain
or challenge established cultural attitudes
and values
Stage 5 - Outcome 1
 identify and explore the purposes and
effects of different text structures and
language features of spoken texts, and
use this knowledge to create purposeful
texts that inform, persuade and engage
(ACELY1740, ACELY1750)
Stage 5 - Outcome 8
 identify and analyse implicit or explicit
values, beliefs and assumptions in texts
Teaching, learning and assessment
again without the image so students focus on how the sound contributes to the meaning. The third
and final viewing should contain image and sound together, and the teacher will invite students to
discuss the relationship between image and sound. A class scribe should take notes so all other
students are able to be actively involved in this process of exploration and discussion.
Students:
 engage in a class discussion about how the film’s conclusion reshapes the viewer’s understanding
of:
 the characters
 the symbolism of the violin
 the cultural values explored in the film
 conclude the class discussion by considering how the final scenes emphasise the common values
of humanity across cultures, including sacrifices made for children, and the importance of love.
 a class scribe can record the discussion for the class.
5. Assessment Task
Students:
 are given two lessons to work on their assessment task in class and to be guided by the teacher,
in accordance with the agreed conditions on the task.
 are encouraged by the teacher to use nominalisation in their construction of their speeches to
achieve a more formal register. E.g. "Chen Kaige's development of Xiaochun's character
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28
Content
and how these are influenced by purposes
and likely audiences (ACELY1752)
Teaching, learning and assessment
illustrates..."
Assessment of learning
The Task:
 You will create a digital collage or image that symbolically represents one of the prominent cultural
values in the film that you have studied. You may create your image in a program of your choice.
The image itself will not be marked.
 You will then compose and present a 3-minute speech in response to the following question:
How does visual representation enhance audiences’ understanding of cultural values?
Your speech should consist of an integrated analysis of:
 The ways in which the image visually represents your understanding of a cultural value explored in
the film.
 The ways in which the director has used his film to visually represent cultural values.
Stage 5 - Outcome 6
Part 5: Conclusion
Students:
1. Essay Writing
 Engage personally with texts
Assessment for learning
 explain and justify responses to texts and
widening personal preferences within and
among texts
 explore and appreciate the similarities and
 Students compose integrated essays in response to the following question:
Compare and contrast how culture is perceived in the texts that you have studied.
 These essays should refer to works by at least two of the composers that students have studied in
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29
Content
Teaching, learning and assessment
differences between and among more
the unit, and students are able to select texts based on their own personal preference. Students
demanding texts
are encouraged to revise paragraphs and other writing that they have already completed in
 Understand and apply knowledge of language
forms and features
 use appropriate metalanguage to identify,
describe and explain relationships between
and among texts
preparing for this essay, ensuring that any revisions are in response to the feedback provided.
 The teacher will provide detailed written feedback on students' essays, and students will be
encouraged to continue to refine their analytical writing skills in preparation for future units in the
Year 10 and Stage 6 courses.
Assessment as learning
 Students compose a reflection summarising what they have learnt in the unit, and where they feel
that they still need further improvement. They should reflect on what they have learnt about
perceptions of culture and cultural perspectives.
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30
Sample annotated poem
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Year 10 English
Assessment of Learning Task
Perceptions of Culture
Outcomes to be assessed:
EN5-3B: A student selects and uses language forms, features and structures of texts appropriate to a
range of purposes, audiences and contexts, describing and explaining their effects on meaning.
EN5-7D: A student understands and evaluates the diverse ways texts can represent personal and
public worlds.
EN5-8D: A student questions, challenges and evaluates cultural assumptions in texts and their effects
on meaning.
Due date: Term 1, Week 9
Date issued: Term 1, Week 6
Weighting: 20%
Task:
1. You will create a digital collage or image that symbolically represents one of the
prominent cultural values in the film that you have studied. You may create your image in
a program of your choice. The image itself will not be marked.
2. You will then compose and present a 3-minute speech in response to the following
question:
How does visual representation enhance audiences’ understanding of cultural
values?
Your speech should consist of an integrated analysis of:
 The ways in which the image visually represents your understanding of a cultural
value explored in the film.
 The ways in which the director has used his film to visually represent cultural values.
Marking Criteria:
You will be assessed on how well you:




demonstrate an understanding of how the image visually represents one of the film’s
cultural values
analyse how the director has used his film to visually represent cultural values
use language forms and features to construct a speech
engage the audience through voice, gesture and eye contact
Agreed conditions:
You will have 2 lessons in class in Week 8 to work on this task.
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32
Range
Wholistic marking guidelines

A
17-20




B 13-16




C 9 -12




D 5-8




E 1-4



Demonstrates a sophisticated and complex understanding of how the
image visually represents one of the film’s cultural values
Analyses insightfully how the director has used his film to visually
represent cultural values through detailed reference to a diverse range of
key scenes
Skilfully uses highly effective language forms and features to construct a
well-informed and well-structured speech
Proficiently engages the audience through highly developed use of voice,
gesture and eye contact
Demonstrates a coherent and comprehensive understanding of how the
image visually represents one of the film’s cultural values
Analyses thoughtfully how the director has used his film to visually
represent cultural values through close reference to key scenes
Effectively uses pertinent language forms and features to construct an
informed and clearly structured speech
Effectively engages the audience through clear use of voice, gesture and
eye contact
Demonstrates a sound and detailed understanding of how the image
visually represents one of the film’s cultural values
Analyses credibly how the director has used his film to visually represent
cultural values through reference to key scenes
Competently uses relevant language forms and features to construct a
structured speech
Competently engages the audience through some use of voice, gesture
and eye contact
Demonstrates a basic understanding of how the image visually represents
one of the film’s cultural values
Attempts to analyse how the director has used his film to visually represent
cultural values through reference to at least one key scene
Uses simple language forms and features in an effort to construct a
speech
Attempts to engage the audience through the use of voice, gesture and/or
eye contact
Demonstrates a limited understanding of how the image visually represents
one of the film’s cultural values
Presents an elementary discussion of how the director has used his film to
visually represent cultural values, which may rely on recount
Uses language forms and features inconsistently in an attempt to
construct a speech
Shows a limited ability to engage the audience through the use of voice,
gesture and/or eye contact
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Evaluation
These materials have been developed by the AIS through funding provided by the NSW Government to support new syllabus implementation.
Copyright is owned by AISNSW.
Except as set out below or permitted under the Copyright Act, no part may be reproduced, stored or communicated without the approval of AISNSW.
Not for profit organisations may reproduce, store in a retrieval system and communicate the whole or any part of the materials without payment of a fee
or other remuneration provided:
a) The institution does not sell, hire or otherwise derive revenue from such reproduction, storage or communication
b) The copyright of AISNSW is noted on any part which is copied or noted
If any other licence is sought, inquiries should be directed to the Executive Director of AISNSW.
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34