SCEGGS DARLINGHURST
YEAR 7 ENGLISH
Incognito by Claire Carmichael
Wall-E by Andrew Stanton
A unit of work developed by members of the English Department at SCEGGS
Darlinghurst 2009-2011:
Marilyn Pretorius, Sonja Richards, Timothy Archer, Jenny Bean, Dominic Wan.
Presented at the AIS Conference 2011
by Marilyn Pretorius
Head of Department, English
Outcomes and content from the draft NSW English syllabus this
workshop will address:
1. A student engages imaginatively and creatively, critically and interpretively with
experience, information, ideas and arguments to responds to and compose texts.
1.1, 1.2, 1.3, 1.4, 1.5, 1.7, 1.8, 1.9; 1.10, 1.11, 1.13, 1.15, 1.16, 1.17
2. A student responds to and composes texts for understanding, interpretation,
critical analysis, imaginative expression and pleasure
2.2, 2.3, 2.4, 2.5, 2.6, 2.7, 2.8, 2.9, 2.11, 2.12, 2.13, 2.15; 2.18, 2.19, 2.22
4. A student selects and uses language forms and features and structures of text
appropriate to different purposes, audiences and contexts with accuracy, clarity
and coherence
4.1, 4.3, 4.7, 4.8, 4.10
5. A student makes connections between and among texts
5.1, 5.2, 5.3, 5.5, 5.6, 5.7, 5.8, 5.9; 5.10, 5.15, 5.16
6. A student demonstrates understanding of how texts can express aspects of their
broadening world and their relationships within it
6.1, 6.2, 6.3, 6.4, 6.5, 6.6; 6.8, 6.9, 6.10, 6.11, 6.12
Outcomes 4, 5, and 6 are in bold because they will be assessed
SCEGGS DARLINGHURST
YEAR 7 ENGLISH 2011
Incognito by Claire Carmichael
Wall-E by Andrew Stanton
This unit builds on skills learned earlier in the introductory unit on Narratives. Students
explore the construction and complexity of a novel through close reading. By examining the
elements of narrative they develop skills in interpretation, inference and critical analysis.
Students will also learn the concept of genres, in particular that of speculative fiction
through a close study of Claire Carmichael's Incognito. They will come to understand the
conventions and values of the speculative fiction genre and how these manifest in a variety
of texts and relate to their own society. Students will also develop understanding of
fundamental film techniques through a study of Andrew Stanton’s Wall-E and work on more
sophisticated tasks such as tracing similar ideas through two texts. Students will explore core
values associated with human nature and will, individually and cooperatively, and consider
how human beings interact with each other in an increasingly complex world. Students will
also come to understand the enchanting nature of speculative fiction and consider their own
futuristic visions and representations.
What is Speculative Fiction?
“Speculative Fiction is the fiction of 'what if...?' What if we had a time machine?
What if robots could do the work of humans? What if we had an honest
government?”
Speculative fiction is a genre which speculates about worlds that are unlike reality.
At its heart, it usually involves a vision of the future, or an alternate world, which is
used by an author to comment on and explore ideas about their own society. This is
where the speculation occurs as such stories are typically concerned with the future
of humanity. It is concerned with where humanity is currently, and more
importantly, where it is headed. Speculative fiction can be seen as “the roadmap to
tomorrow”.
The term is often attributed to Robert A. Heinlein. In his first known use of the term,
in the editorial of The Saturday Evening Post in 1947, Heinlein used it specifically as a
synonym for "science fiction”. Over the years, speculative fiction has differed from
science fiction through a more focused attention on social issues and the future of
humanity rather than on the development of science itself.
Speculative fiction is a place beyond reality, a place that could have been, or might
have been, “if only the rules of the universe were altered just a bit. It sees the world
with new eyes. It is the fiction of unlimited possibilities”.
QUESTIONS
1. Consider the verb ‘to speculate’ more closely. Find five synonyms. What further
insight might this provide into the nature of speculate fiction?
2. Typically, speculative fiction uses an imaginary or futuristic world to explore
important issues in contemporary society. Consider the following:
a) Compare the world today with the world your parents and grandparents
grew up in.
Identify some major changes.
b) What does the future hold for our world? (Consider optimistically and
pessimistically!)
c) How will human beings be different in the future?
d) Will human beings treat one another differently in the future? Why?
e) Do you think we will live in a happier society in the future? Explain.
f) What do you see as being the future benefits and dangers of technology?
g) Which novels or films have you read or seen which could be included in the
genre of speculative fiction? What kinds of futures do they outline?
Visions of the Future
Predicting the future of our world and what life might be like has long been part of
popular culture. The different versions of possible futures are diverse and range
from the optimism of ease of lifestyle to the fear of the consequences of nuclear
warfare.
1. The Jetsons (1960s)
Hanna-Barbera’s space age counterpart to “The Flintstones”, this family
sitcom projected contemporary American culture and lifestyle into
another time period. The Jetsons live in a futuristic utopia in 2062.
http://www.youtube.com/watch?v=lhF4gu87rn0
a) Describe the world in which the Jetsons live.
b) What has changed and, interestingly, what has remained the same?
c) What does the music contribute to the images?
2. Buck Rogers in the 25th Century (1980s)
A 20th century astronaut, Buck Rogers is on a space mission when his
shuttle runs into a cosmic anomaly. Frozen in suspended animation until
he is revived 500 years later, Buck helps solve future Earth's dilemmas.
http://www.youtube.com/watch?v=CO8kFHCXiEg
a) The setting is 2491. What expectations are prompted of this world?
b) What mood is created by the music and voiceover?
c) Who is the target audience of this series?
3. I Am Legend (2007)
Virologist Robert Neville is immune to a vicious man-made virus originally
created to cure cancer. He works to create a remedy while living alone in
Manhattan in 2012, a city inhabited by violent victims of the virus.
http://www.youtube.com/watch?v=o7CC0kbGj6s
a) Consider the opening image. What does it imply?
b) Watch the trailer first without and then with sound. Comment on the
contribution of music and silence to the atmosphere and ideas.
c) Describe the future suggested by this film.
4. Aeon Flux (2005)
Set in a single city 400 years into the future, a side effect of an antidote to
disease which has wiped out 99% of the human race has made humans
infertile. Aeon realises every person is a clone, created with recycled DNA.
http://www.youtube.com/watch?v=Ivqm96rXf7w
a) In what ways is the future presented in this film different from 2011?
b) Comment on the variety of camera movements. What do they illustrate?
c) What are the dominant colours in this clip? What might they symbolise?
For an audio version of the following short story:
http://ia700506.us.archive.org/8/items/DimensionX/Dimx_e011_ThereWillComeSoftRains_ZeroHour.mp3
There Will Come Soft Rains
by Ray Bradbury
In the living room the voice-clock sang, Tick-tock, seven o'clock, time to get up, time to
get up, seven o'clock! as if it were afraid that nobody would. The morning house lay
empty. The clock ticked on, repeating and repeating its sounds into the emptiness. Sevennine, breakfast time,seven-nine! In the kitchen the breakfast stove gave a hissing sigh and
ejected from its warm interior eight pieces of perfectly browned toast, eight eggs
sunnyside up, sixteen slices of bacon, two coffees, and two cool glasses of milk. "Today
is August 4, 2026," said a second voice from the kitchen ceiling, "in the city of Allendale,
California." It repeated the date three times for memory's sake. "Today is Mr.
Featherstone's birthday. Today is the anniversary of Tilita's marriage. Insurance is
payable, as are the water, gas, and light bills." Somewhere in the walls, relays clicked,
memory tapes glided under electric eyes.
Eight-one, tick-tock, eight-one o'clock, off to school, off to work, run, run, eight-one!
But no doors slammed, no carpets took the soft tread of rubber heels. It was raining
outside. The weather box on the front door sang quietly: "Rain, rain, go away; rubbers,
raincoats for today…" And the rain tapped on the empty house, echoing. Outside, the
garage chimed and lifted its door to reveal the waiting car. After a long wait the door
swung down again. At eight-thirty the eggs were shrivelled and the toast was like stone.
An aluminium wedge scraped them into the sink, where hot water whirled them down a
metal throat which digested and flushed them away to the distant sea. The dirty dishes
were dropped into a hot washer and emerged twinkling dry.
Nine-fifteen, sang the clock, time to clean.
Out of warrens in the wall, tiny robot mice darted. The rooms were acrawl with the small
cleaning animals, all rubber and metal. They thudded against chairs, whirling their
mustached runners, kneading the rug nap, sucking gently at hidden dust. Then, like
mysterious invaders, they popped into their burrows. Their pink electric eyes faded. The
house was clean.
Ten o'clock.
The sun came out from behind the rain. The house stood alone in a city of rubble and
ashes. This was the one house left standing. At night the ruined city gave off a
radioactive glow which could be seen for miles.
Ten-fifteen.
The garden sprinklers whirled up in golden founts, filling the soft morning air with
scatterings of brightness. The water pelted windowpanes, running down the charred west
side where the house had been burned evenly free of its white paint. The entire west face
of the house was black, save for five places. Here the silhouette in paint of a man
mowing a lawn. Here, as in a photograph, a woman bent to pick flowers. Still farther
over, their images burned on wood in one titanic instant, a small boy, hands flung into
the air; higher up, the image of a thrown ball, and opposite him a girl, hands raised to
catch a ball which never came down. The five spots of paint—the man, the woman, the
children, the ball—remained. The rest was a thin charcoaled layer. The gentle sprinkler
rain filled the garden with falling light.
Until this day, how well the house had kept its peace. How carefully it had inquired,
"Who goes there? What's the password?" and, getting no answer from lonely foxes and
whining cats, it had shut up its windows and drawn shades in an old maidenly
preoccupation with self-protection which bordered on a mechanical paranoia. It quivered
at each sound, the house did. If a sparrow brushed a window, the shade snapped up. The
bird, startled, flew off! No, not even a bird must touch the house! The house was an altar
with ten thousand attendants, big, small, servicing, attending, in choirs. But the gods had
gone away, and the ritual of the religion continued senselessly, uselessly.
Twelve noon.
A dog whined, shivering, on the front porch. The front door recognized the dog voice and
opened. The dog, once huge and fleshy, but now gone to bone and covered with sores,
moved in and through the house, tracking mud. Behind it whirred angry mice, angry at
having to pick up mud, angry at inconvenience. For not a leaf fragment blew under the
door but what the wall panels flipped open and the copper scrap rats flashed swiftly out.
The offending dust, hair, or paper, seized in miniature steel jaws, was raced back to the
burrows. There, down tubes which fed into the cellar, it was dropped into the sighing
vent of an incinerator which sat like evil Baal in a dark corner. The dog ran upstairs,
hysterically yelping to each door, at last realizing, as the house realized, that only silence
was here. It sniffed the air and scratched the kitchen door. Behind the door, the stove was
making pancakes which filled the house with a rich baked odour and the scent of maple
syrup. The dog frothed at the mouth, lying at the door, sniffing, its eyes turned to fire. It
ran wildly in circles, biting at its tail, spun in a frenzy, and died. It lay in the parlor for an
hour.
Two o'clock, sang a voice.
Delicately sensing decay at last, the regiments of mice hummed out as softly as blown
gray leaves in an electrical wind.
Two-fifteen.
The dog was gone. In the cellar, the incinerator glowed suddenly and a whirl of sparks
leaped up the chimney.
Two thirty-five.
Bridge tables sprouted from patio walls. Playing cards fluttered onto pads in a shower of
pips. Martinis manifested on an oaken bench with egg-salad sandwiches. Music played.
But the tables were silent and the cards untouched. At four o'clock the tables folded like
great butterflies back through the panelled walls.
Four-thirty.
The nursery walls glowed. Animals took shape: yellow giraffes, blue lions, pink
antelopes, lilac panthers cavorting in crystal substance. The walls were glass. They
looked out upon colour and fantasy. Hidden films docked through well-oiled sprockets,
and the walls lived. The nursery floor was woven to resemble a crisp, cereal meadow.
Over this ran aluminium roaches and iron crickets, and in the hot still air butterflies of
delicate red tissue wavered among the sharp aroma of animal spoors! There was the
sound like a great matted yellow hive of bees within a dark bellows, the lazy bumble of a
purring lion. And there was the patter of okapi feet and the murmur of a fresh jungle rain,
like other hoofs, falling upon the summer-starched grass. Now the walls dissolved into
distances of parched weed, mile on mile, and warm endless sky. The animals drew away
into thorn brakes and water holes. It was the children's hour.
Five o'clock.
The bath filled with clear hot water.
Six, seven, eight o'clock.
The dinner dishes manipulated like magic tricks, and in the study a click. In the metal
stand opposite the hearth where a fire now blazed up warmly, a cigar popped out, half an
inch of soft gray ash on it, smoking, waiting.
Nine o'clock.
A voice spoke from the study ceiling: "Mrs. McClellan, which poem would you like this
evening?"
The house was silent. The voice said at last, "Since you express no preference, I shall
select a poem
at random." Quiet music rose to back the voice. "Sara Teasdale. As I recall, your
favourite….
"There will come soft rains and the smell of the ground,
And swallows circling with their shimmering sound;
And frogs in the pools singing at night,
And wild plum trees in tremulous white;
Robins will wear their feathery fire,
Whistling their whims on a low fence-wire;
And not one will know of the war, not one
Will care at last when it is done.
Not one would mind, neither bird nor tree,
if mankind perished utterly;
And Spring herself, when she woke at dawn
Would scarcely know that we were gone."
The fire burned on the stone hearth and the cigar fell away into a mound of quiet ash on
its tray. The empty chairs faced each other between the silent walls, and the music
played.
At ten o'clock the house began to die.
The wind blew. A failing tree bough crashed through the kitchen window. Cleaning
solvent, bottled, shattered over the stove. The room was ablaze in an instant! "Fire!"
screamed a voice. The house lights flashed, water pumps shot water from the ceilings.
But the solvent spread on the linoleum, licking, eating, under the kitchen door, while the
voices took it up in chorus: "Fire, fire, fire!" The house tried to save itself. Doors sprang
tightly shut, but the windows were broken by the heat and the wind blew and sucked
upon the fire. The house gave ground as the fire in ten billion angry sparks moved with
flaming ease from room to room and then up the stairs. While scurrying water rats
squeaked from the walls, pistolled their water, and ran for more. And the wall sprays let
down showers of mechanical rain. But too late. Somewhere, sighing, a pump shrugged to
a stop. The quenching rain ceased. The reserve water supply which had filled baths and
washed dishes for many quiet days was gone. The fire crackled up the stairs. It fed upon
Picassos and Matisses in the upper halls, like delicacies, baking off the oily flesh,
tenderly crisping the canvases into black shavings. Now the fire lay in beds, stood in
windows, changed the colours of drapes!
And then, reinforcements.
From attic trapdoors, blind robot faces peered down with faucet mouths gushing green
chemical. The fire backed off, as even an elephant must at the sight of a dead snake. Now
there were twenty snakes whipping over the floor, killing the fire with a clear cold venom
of green froth. But the fire was clever. It had sent flames outside the house, up through
the attic to the pumps there. An explosion! The attic brain which directed the pumps was
shattered into bronze shrapnel on the beams. The fire rushed back into every closet and
felt of the clothes hung there. The house shuddered, oak bone on bone, its bared skeleton
cringing from the heat, its wire, its nerves revealed as if a surgeon had torn the skin off to
let the red veins and capillaries quiver in the scalded air. Help, help! Fire! Run, run! Heat
snapped mirrors like the brittle winter ice. And the voices wailed Fire, fire, run, run, like
a tragic nursery rhyme, a dozen voices, high, low, like children dying in a forest, alone,
alone. And the voices fading as the wires popped their sheathings like hot chestnuts.
One, two, three, four, five voices died.
In the nursery the jungle burned. Blue lions roared, purple giraffes bounded off. The
panthers ran in circles, changing colour, and ten million animals, running before the fire,
vanished off toward a distant steaming river.
Ten more voices died.
In the last instant under the fire avalanche, other choruses, oblivious, could be heard
announcing the time, playing music, cutting the lawn by remote-control mower, or
setting an umbrella frantically out and in the slamming and opening front door, a
thousand things happening, like a clock shop when each clock strikes the hour insanely
before or after the other, a scene of maniac confusion, yet unity; singing, screaming, a
few last cleaning mice darting bravely out to carry the horrid ashes away! And one voice,
with sublime disregard for the situation, read poetry aloud in the fiery study, until all the
film spools burned, until all the wires withered and the circuits cracked.
The fire burst the house and let it slam flat down, puffing out skirts of spark and smoke.
In the kitchen, an instant before the rain of fire and timber, the stove could be seen
making breakfasts at a psychopathic rate, ten dozen eggs, six loaves of toast, twenty
dozen bacon strips, which, eaten by fire, started the stove working again, hysterically
hissing!
The crash. The attic smashing into kitchen and parlor. The parlor into cellar, cellar into
sub-cellar. Deep freeze, armchair, film tapes, circuits, beds, and all like skeletons thrown
in a cluttered mound deep under. Smoke and silence. A great quantity of smoke.
Dawn showed faintly in the east. Among the ruins, one wall stood alone. Within the wall,
a last voice said, over and over again and again, even as the sun rose to shine upon the
heaped rubble and steam: "Today is August 5, 2026, today is August 5, 2026, today is…"
QUESTIONS
This story is one of the most famous short stories in the speculative fiction genre. It
was written and published in Bradbury’s highly acclaimed collection of stories, The
Martian Chronicles, in 1951. Written in an era in which many people were concerned
about the devastating effects of nuclear weapons, the story depicts a world in which
humans have been destroyed by nuclear force. In this way, it can be said to be a postapocalyptic narrative.
1. THE TEXT – LANGUAGE
a) This short story uses a range of language techniques very effectively. Find
examples of two different techniques, provide quotes to illustrate and explain
their effect.
b) Where is the climax of the story? Use a diagram to trace the narrative structure.
c) How is the relationship between humans, technology and nature depicted?
d) Consider the poem by Sara Teasdale.
What is it about and what does it contribute to the story?
e) What was Bradbury’s purpose in writing this story?
2. AN ILLUSTRATION – IMAGES
a) Plan a short animation based on Bradbury’s story. Construct a brief story board
to outline how your animation might progress. Carefully consider:
- camera shots - What are the important images? What would the audience seeor not see? How would the camera move to reflect the atmosphere of the
scene?
- colours - Which colours would best illustrate the ideas within and mood of the
narrative?
- sound / music - What would your audience hear? How would it make them
feel?
b) Consider the animation by Peter Cotter and compare his visual decisions to your
own.
http://vimeo.com/1192818
c) Consider the adaptation of the story by Budet Laskovyj Dozhd and compare his
rendition of the story to Peter Cotter’s. Which version do you prefer. Why? Write a
paragraph.
For the adaptation of "There Will Come Soft Rains" by Budet Laskovyj Dozhd, go to:
http://www.youtube.com/watch?v=5LNHYz89sNc
CREATIVE WRITING
Select ONE of the following options.
Plan your writing first by brainstorming possible ideas and images.
Remember to consider your language choices carefully in order to create characters,
setting and atmosphere appropriate to the speculative fiction genre.
Your response should be at least 300 words.
Ensure your work is carefully edited before submission.
Option 1
Select a familiar context (eg: domestic kitchen, primary classroom,
teenager’s bedroom, Australian beach) and write the first few
paragraphs of the orientation of a speculative narrative. Your
descriptions should reveal the futuristic context without directly
specifying the time and place. Draw on familiar images, ideas and
routines, but transplant them into a futuristic setting.
Option 2
“Speculative Fiction is the fiction of 'what if...?' What if we had a time
machine? What if robots could do the work of humans? What if we
had an honest government? What if technology were misused to exert
power over the people in a society? What if technology was used to
spy on our every move?”Begin your writing with “What if...” Explore
the possibilities that your futuristic notion presents.
Option 3
Use one of the images above as a stimulus for a short story. Give
your short story a title.
Incognito by Claire Carmichael
Set a few years into the future, in the world of Incognito there is no privacy as
“nothing should be secret – that is the only way to achieve a free and open society”
(p.45). Everyone is identified by their unique wristcode, all personal information is
held in databases and the government observes, authorises and controls. A tranquil
world of honesty, ease and trust or an apprehensive one of surveillance, secrets and
corruption? When Karr Robinson's identity is obliterated from the database, his
seemingly perfect life changes overnight and he begins to question his principles,
what real freedom is and how power is used.
DISCUSSION QUESTIONS
1. What does “incognito” mean? Why is it an effective title for the novel?
2. Consider the following concepts. Define them and list any associated ideas.
Select one and illustrate it first in a visual form and then in words (simile or
metaphor).
POWER
FREEDOM
IDENTITY
PRIVACY
3. Consider the images on the book cover. How do they illustrate the ideas of
the novel?
CHAPTER ANALYSIS
Prologue
1. What is the purpose of a prologue?
2. How is figurative language used to set the scene in the opening paragraph?
3. How is suspense developed in these pages?
4. Describe the atmosphere at the end of the prologue. How is this generated?
5. Outline the character of Lord Alpha based on the prologue. Provide quotation to
support.
Chapter 2
1. Brenna and Cole are not who they seem. Describe their designated role
(appearance) and their truer personality (reality). (p.13-15, 16, 19)
2. How does Mr Sneep explain “the importance of conformity”? (p.15) What does
this reveal about the world of the novel? What persuasive techniques does he
use?
Chapter 3
1. How does Karr feel as an oblit? (p.27 & 31) How does the setting echo this?
2. Reread p.28-30. Outline the two opposing views of privacy and explain who
holds them. What does this foreshadow?
3. The last few pages of this chapter provide an interesting insight into the Peverill
family. What do we learn about the characters and about privacy?
Chapter 4
1. Ms Plato presents a lecture on “The History of Secrecy” (p.45-49). What is her
explanation? What insights does Brenna provide the reader? What does this
reveal about the world of the novel?
2. Explain what is meant by the euphemisms – “the bad decades” and “the great
partnership” (p.48-49)
3. What is Ms Plato’s response when her view of the world is questioned? (p.4950) What does this also reveal about the world of the novel?
4. “You’re all brainwashed! There is no freedom without privacy.” (p.51) Explain
Brenna’s view. Do you agree with Brenna’s assessment?
Chapter 5
1. The Tracts are first mentioned on p.53. Closely consider the language used to
describe them. List the adjectives and outline what atmosphere it generates.
2. Karr has until this point assumed that his obliteration has simply been a mistake.
What is the reality his father explains to him on p.59? What does this reveal
about power?
3. What do we learn about data lords at the end of this chapter?
Chapter 6
1. How is symbolism used in the opening of this chapter? (p.70)
2. The reader is provided with more details about the group, Incognito. Who are
they and what is their purpose? (p.79)
3. By this point, the reader has been introduced to most of the characters in the
novel. Construct a diagram which depicts the connections between them. Think
carefully about where each character should be placed. Provide a brief quote to
indicate their relationship to Karr and a few adjectives to describe them. (You
should have about 20 characters!)
Chapter 7
1. This chapter is only a little over two pages long. What effect does a sudden and
short
chapter have on the narrative?
2. What is Jonathan’s response to the revelation that Vonny Peverill signed the
order for his arrest? What does this tell the reader about Jonathan and about
the world of the novel?
Chapter 8
1. Karr takes advantage of his last moments of sanctuary in his home, secure and
“free from surveillance” (p.90). How has this been achieved? What does this
reveal once again about society in this future world? Provide quotation to
support.
2. Karr plans and packs to go to the Tracts. What does he put in his backpack?
(p.92) What would you pack in similar circumstances?
3. Describe Alicia’s and Clay’s contrasting reactions to the news about Karr’s
father. What do both responses reveal about their relationship to Karr? (p.93-96
and 99)
Chapter 9
1. Reread the descriptions of Karr’s arrival at the entrance of the Tracts on p.100103. Describe the atmosphere. What language techniques are used develop
this?
2. Karr continues to realise more about the appearance of things and people as
opposed to reality. Provide examples that the appearance of some things is very
different from how they really are. (p.106, 113)
Chapter 10
1. What further insights is the reader given into the philosophy and organisation of
Incognito? (p.125, 127, 128, 132)
2. Explain how and why Brenna enjoys a freedom Karr and others have never
known. Compare this situation to our world today. How different is it?
3. How is tension created in the last few pages of this chapter? (p.133-5)
Chapter 11
1. What is surprising about Yvonne Davillo’s appearance at the barricade? (p.142)
What connections does the reader make at this point?
2. How has Carmichael built suspense in this chapter?
Chapter 12
1. Karr suggests that the current society is not all bad - “People have good lives.”
(p.157) How does Aunt Jai respond to his assumption?
2. What is Brenna’s role in Incognito? (p.158-9)
3. Draw a diagram which summarises the evidence Aunt Jai has gathered regarding
corruption (p.159-161). How does it add to the suspense of the novel?
Chapters 13-16
1. Explain how Karr's attitude towards Uncle Leith changes in this chapter. Provide
evidence to support your answer.
2. Who is the data lord behind the corruption that Jonathan discovered? How did
Karr know and when did he begin to suspect?
3. What does Karr’s confrontation with Professor Peverill confirm about data
lords? (p.186-191)
4. What does Alicia’s response to Karr’s attack on her father confirm about her?
(p.192)
5. Consider how Karr has changed as a person by the end of the novel. Compare
his character in the orientation to his character now.
LANGUAGE TECHNIQUES
As your previous study of narratives and narrative poetry has revealed, language is
used carefully and creatively to engage the reader and to develop the characters,
setting, ideas and atmosphere within a story. As you reread the novel highlight
strong examples of a variety of language techniques. Make a note of what technique
is being used and how it creates meaning.
TECHNIQUES to consider include:
descriptive language (strong verbs and interesting adjectives)
figurative language (alliteration, similes, metaphors, personification)
repetition
symbolism
rhetorical questions
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ANALYTICAL TASKS
1. The reader is left with a vivid impression of The Tracts. Review the language
used at various points to describe this location. Analyse the language and
explain how it is used to generate atmosphere, develop setting and further the
ideas of the novel.
2. Science and technology play a central role in the world of Incognito. Compile a
list of examples of gadgets and processes which are the result of advances in
technology. Explain what kind of world they create and how they assist and
impede characters.
CREATIVE TASKS
3. Write a media report which breaks the news of the existence of a corrupt data
lord. Consider what Jonathan Robinson discovered, what Karr recorded in his
confrontation and what the reader knows about Professor Peverill. Carefully
consider tone and structure.
4. Imagine that Brenna Cole kept a diary. Write a series of three diary entries
which reflect her thoughts about her role at school, Karr’s obliteration,
Incognito’s mission and her relationships with her peers. Think carefully about
which points in the novel Brenna would have felt compelled to record her
thoughts and feelings.
EXTENSION READING
Read The Giver by Lois Lowry. Twelve year old Jonas lives in an apparently utopian
society of the future. This world is free of pain, fear, prejudice and
conflict, but colour, music and choice are also absent. Selected as a
Receiver of Memories, he telepathically receives memories of things
eliminated from his world: violence, sadness and loss, as well as beauty,
joy and adventure. Having knowledge of these complex and powerful
concepts alienates Jonas from his friends and family. Should he leave their peaceful but
bland existence undisturbed, or should he share his rich memories despite the all the
detrimental aspects which accompany them?
OPTIONAL CREATIVE TASK
In the world of The Giver, a society unlike our own, some concepts we consider
ordinary would seem unfamiliar and strange. The author presents common things,
such as sleds, love and sunburns, with fresh eyes. Just as Lowry does, select
something ordinary and describe it as extraordinary, capturing strangers’ reactions
to the familiar object.
OPTIONAL ANALYTICAL TASK
The Giver and Incognito both present different visions of the future. Explain what
these visions are and discuss how the authors have used language, characters and/or
settings to create their version of dystopia.
OR
Read Fahrenheit 451 by Ray Bradbury, which is a dystopian novel written in 1953. It
presents a future American society where reading is outlawed and firemen start fires
to burn books. Written in the early years of the Cold War, the novel is a critique of
what Bradbury saw as issues in American society of the time, post WW2. Guy
Montag is a fireman who presents the dystopia through the eyes of a loyal worker to
it, a man in conflict about it, and one resolved to be free of it. Through most of the
novel, Montag lacks knowledge and believes what he hears. Over the years, the
novel has been subject to various interpretations, mainly focusing on the historical
role of book burning in suppressing dissenting ideas. Bradbury has stated that the
novel is not about censorship, but a story about how television destroys interest in
reading literature, which leads to a perception of knowledge as being composed of
factoids, partial information devoid of context. Mildred Montag is Guy Montag's
wife. She is a conformist and represents the totalitarian state. Faber is a former
English professor, who represents those who know what is being done is wrong, but
are too fearful to act. Bradbury notes in his afterword that Faber is part of the name
of a German manufacturer of pencils, Faber-Castell.
OPTIONAL CREATIVE TASK
Imagine you found yourself in the world of Fahrenheit 451. What would you say to
Guy Montag? What would you say to Faber?
OPTIONAL ANALYTICAL TASK
Fahrenheit 451 and Incognito both present different visions of the future. Explain
what these visions are and discuss how the authors have used language, characters
and/or settings to create their version of dystopia.
McTighe and Wiggins (2004) advocate focus on transferable, Big Ideas1
In English, it is particularly useful to continuously move from big picture, to parts so
that students do not lose sight of the big picture. For example, in the Year 7 unit on
Speculative Fiction, it is important to move from the big picture of what speculative
fiction is, and its conventions, to a close study of the short story by Ray Bradbury,
There Will Come Soft Rains and then back again to the big picture to show how and
why Bradbury’s story fits in.
SYNTHESIS TASKS
In small groups of 3 or 4
1. From all that you have read, viewed, discussed or considered this term:
create a list of the conventions or characteristics of Speculative Fiction which are
evident in:
 There Will Come Soft Rains
 Incognito
 The extracts from the films The Jetsons, Buck Rogers and I Am Legend
 (The Giver or Fahrenheit 451 if you have read one or both)
Do this on an A3 piece of paper divided into 3 (or 4 columns for The
Giver/Fahrenheit 451)), one for each text/group of texts.
2. Which conventions, or characteristics, are common to all the texts? Highlight
them.
3. Which conventions are particular only to a specific text? Can you suggest
why?
4. What can you conclude about Speculative Fiction as a genre (or category of
fiction)?
Individually
1. Write about half a page to a page explaining how and why the short story
by Ray Bradbury, There Will Come Soft Rains fits into the genre, or
category, of Speculative Fiction.
2. Do the same for Incognito.
Now answer the following questions:
 What aspects of Incognito are plausible (=believable or possible)?
Make a list
 Write a cohesive paragraph explaining EITHER how Ray Bradbury
is answering the question characteristic of the Speculative Fiction
1
McTighe and Wiggins, 2004, Understanding by Design: Professional Development Workbook, p. 225

genre, ‘What if?’ through his short story There Will Come Soft
Rains OR
How Claire Carmichael is answering ‘What if?’ through her novel,
Incognito?
“Ads Follow Web Users and Get More Personal”
by Stephanie Clifford (New York Times)
For all the concern and uproar over online privacy, marketers and data companies have
always known much more about consumers’ offline lives, like income, credit score, home
ownership, even what car they drive. Recently, some of these companies have started
connecting this mountain of information to consumers’ browsers.
The result is a sea change in the way consumers encounter the Web. Not only will people
see customized advertising, they will see different versions of Web sites from other
consumers and even receive different discount offers while shopping — all based on
information from their offline history. Two women in adjoining offices could go to the
same cosmetic site, but one might see a $300 Missoni perfume, the other the house-brand
lipstick on sale for $2. The technology that makes the connection is nothing new — it is a
tiny piece of code called a cookie that is placed on a hard drive. But the information it
holds is. And it is all done invisibly.
“Now, you’re traveling the Internet with a cookie that indicates you’re this type of
consumer: age group X, income level, urban versus rural, presence of children in the
household,” said Trey Barrett, a product leader at Acxiom, one of the companies offering
this linking to marketers. Advertisers and marketers say this specificity is useful, taking
out the guesswork involved in online-only profiling, and showing products to the people
most likely to be interested. Retailers including Gap and Victoria’s Secret are using this
tactic.
But consumer advocates say such unseen tracking is troubling. On the old Internet, nobody
knew you were a dog. On the new targeted Internet, they now know what kind of dog you
are, your favourite leash colour, the last time you had fleas and the date you were neutered.
“The industry’s love affair with persistent cookies has made it virtually impossible for
users to go online without being tracked and profiled,” said Marc Rotenberg, executive
director of the Electronic Privacy Information Center, in an e-mail message.
While Congress has been holding hearings on online privacy lately, the sessions have
focused on online behavioural targeting. The industry has argued that no government
intervention is needed, an argument that the Federal Trade Commission has so far
accepted.
Consumers can avoid cookie-based tracking by deleting cookies from their computers or
setting their browsers not to accept cookies. But few do, and privacy advocates say it is
easy for companies to add cookies without users noticing. For decades, data companies
like Experian and Acxiom have compiled reams of information on every American:
Acxiom estimates it has 1,500 pieces of data on every American, based on information
from warranty cards, bridal and birth registries, magazine subscriptions, public records and
even dog registrations with the American Kennel Club.
Patrick Williams, the publisher of the personal finance magazine Worth, recently asked
Acxiom to find the names and addresses of 10,000 Americans from each of 11 cities who
had houses worth more than $1 million, net worth of over $2 million, lived within a few
miles of other rich people and subscribed to business publications. “They are the scariest
data research company around — they know far too much,” said Mr. Williams, who said
he was very happy with the amount of information it gave him.
Companies like Acxiom and a competitor, Datran Media, make the connection between online and
offline data when a person registers on a Web site or clicks through on an e-mail message from a
marketer.
Datran’s cookies include 50 to 100 pieces of information. Both companies say cookie data is
anonymous and generalized. Datran and Acxiom then sell advertising on Web sites like NBC.com,
Facebook and Yahoo to companies that use their data.
For marketers, all this data is a boon. Beltone New England, a hearing-aid company, asked Datran
to find people online who were 65 and over, owned a house, were head of a household, made more
than $35,000 a year and lived in New England so it could show them ads. Datran also tested the
same ads with a wider group of people. “What was surprising was we found the majority of
responders turned out to be women 35 to 40 who had elderly parents at home,” said Perry Ebel,
Beltone’s director of marketing and business development. He said he was changing his offline
marketing to include that group. By using real-world data online, marketers can customize
messages even further — showing different products to people with different shopping habits,
whether it is in ads, an e-mail message or in semipersonalized Web pages.
Rodale, which publishes books along with magazines like Men’s Health and Prevention, uses
Acxiom data to help determine which promotional e-mails to send to which customers. Offers
aimed at women might be accompanied by an e-mail message offering a Father’s Day subscription
to Men’s Health for him and a free book on losing belly fat for her. Young men might get another
offer — a book on sex positions. Some marketers are using offline data more subtly — for
example, showing a budget shopper a discount offer and a regular shopper a full-price section.
“The people who buy less frequently and are most price-conscious may get a better deal than
someone who buys more frequently, who would buy anyway,” said Christopher S. Marriott, global
managing director of Acxiom Digital, a division of Acxiom.
Of course, shoppers would have little reason to think their experience or their ads are being
personalized based on their home value or Volvo ownership. “It is a little Big Brother-ish,” said
Betsy Coggswell, 49, a social worker in Fullerton, Calif., who shops online regularly. Still, she
said, she wasn’t shocked. “Every time you put out information about yourself — people have got
to understand — it’s going to be collected by somebody.”
Some online companies avoid matching online and offline profiles. In 2000, DoubleClick
abandoned plans to connect online and offline data after a huge outcry. Google, which later
acquired DoubleClick, has been conducting studies that connect the two areas, but it does not
currently collect or serve ads based on such personal information without user permission, Sandra
Heikkinen, a Google spokeswoman, said.
While Acxiom, Datran and some of their partners address their use of tracking in their privacy
policies, such policies have become worthless, Mr. Rotenberg said. “Real transparency means that
the user gets access to the information, not to a policy about the information,” he said.
Paul M. Schwartz, a law professor and privacy expert at the law school of the University of
California, Berkeley, said the unwitting participation by consumers makes online marketing
different from offline.“Interactive media really gets into this creepy Orwellian thing, where it’s a
record of our thoughts on the way to decision-making,” he said. “We’re like the data-input clerks
now for the industry.”
QUESTIONS
1. How did you feel reading this article? Explain why.
2. How does it reflect some of the ideas explored in Incognito?
WALL-E by Andrew Stanton
This film is set 700 years in the future when the earth has become uninhabitable as a
result of consumerism and neglect. The human race has evacuated a toxic, barren
and litter ridden earth, leaving behind trash compactor robots to clean up. For
hundreds of lonely years, WALL-E (Waste Allocation Load Lifter Earth-class) has been
routinely compacting and collecting rubbish. A spaceship lands and deploys a sleek
search robot named EVE (Extraterrestrial Vegetation Evaluator) when he discovers a
seedling plant growing amongst the garbage. This fertile symbol of hope for the
recolonisation of earth takes both robots on an adventure that changes the destiny
of their kind and of humanity.
FILM TECHNIQUES
Just as novels utilise the power of language, films utilise a range of techniques to
engage their audience and develop their ideas. There is very little dialogue in WALL-E so
the film relies more
on a variety of camera shots, lighting and sound to create meaning.
CAMERA SHOTS
The size of the shot the audience sees in the frame is defined by the proximity of the
camera
to the subject.
EXTREME LONG SHOT
An extreme long shot is a landscape or vista
scene. It is often used to establish the world
of the narrative, to clarify the setting and signal
the atmosphere.
LONG SHOT
A long shot includes a full length figure and some
of the surroundings. This can establish character
or action and show links between characters and
their setting.
MEDIUM SHOT
A medium shot shows a person from the waist up.
The audience can view facial expressions and body
language. It develops character or shows action.
CLOSE-UP
A close-up focuses intently on the face, hands or feet
of a character or an object at close range. This
emphasises emotion and increases tension.
CAMERA ANGLE
The angle of the camera contributes to the atmosphere of the scene. It also suggests
the
importance or power a character holds.
HIGH-ANGLE SHOT
In a high-angle shot the camera is above the
character or object. This has the effect of making
the object appear weak, inferior or under pressure.
EYE-LEVEL SHOT
An eye-level angle shows a character at the same
level as the camera. It encourages the audience to
not only see the character as an equal but also to
see the world of the film from their perspective.
LOW-ANGLE SHOT
In a low-angle shot, the camera is below the
character or object. This has the effect of making
that character seem powerful and important.
CAMERA MOVEMENT
Moving the camera in particular ways focuses attention on particular characters,
objects and actions. It can also contribute to the tension by slowly revealing part of a
scene and make the audience feel part of the action. There are four main types of
movement:
TRACKING – Mounted on wheels, the camera runs parallel to the action, keeping
pace with the movement of a character. This captures the intensity of action and the
emotions of characters.
DOLLY – The camera, again mounted on wheels, zooms in (dolly in) or zooms out
(dolly out). This movement forward or backward can intensify the drama and provide
details about the surroundings.
PANNING – The camera remains in one position but rotates to follow the action. This
often reveals scenery, establishes setting or provides a moment of further important
detail.
TILT – The camera again remains in one position, but tilts up and down. This can be
used to follow the subject or move slowly from head to toes of a character. This can
heighten empathy, tension or humour of a scene.
LIGHTING
Lighting plays an important part in creating atmosphere. Consider also colours which
are emphasised and the symbolism of them.
HIGH-KEY : High key lighting is free from dark shadows and is sometimes used to
create an optimistic atmosphere.
LOW-KEY : This lighting emphasises shadow and is often dark and suspenseful.
BACK LIGHTING : The light comes from behind the subject, creating a silhouette,
creating a sense of mystery and foreboding.
SOUND
In addition to what the audience sees, consider also what they hear.
When listening to DIALOGUE consider the volume, tone and pitch of the characters’
speech.
Also listen carefully to the MUSIC (score) accompanying a scene as it is a powerful
generator of atmosphere. Consider also its volume and style.
Just as influential as sound, is the lack of it. Consider when SILENCE occurs and why.
CLOSE STUDY OF SELECTED SCENES
SCENE 1 – Out There
a) Watch the opening sequence of the film with the
sound muted. What images and colours are
dominant? What kind of world is this? Which
camera shots assist this impression?
b) Watch these first few minutes again this time
with the sound. How does the music change the
tone?
c) What is WALL-E’s role in this world? Which camera shots guide the audience’s
understanding of this purpose?
d) How is the audience’s understanding of this world developed in the next scene?
SCENE 4 – A Day at Work
a) Describe WALL-E’s daily routine. What characterises his habits?
b) What does WALL-E’s relationship with the cockroach reveal about him?
c) How does Stanton want the audience to feel about WALL-E? How is this
encouraged?
d) How is humour generated in this
scene?
e) The discovery of the plant is a
pivotal moment in this scene.
Which film techniques are used to
indicate this?
f) At the end of this scene WALL-E
notices and follows the red dot. Which film techniques are used to develop
suspense?
SCENE 5 – EVE Arrives
a) What is WALL-E’s first impression of EVE? Which film techniques show this?
b) What does EVE’s flight through the sky reveal about her character? What does
the music contribute to this moment?
c) Why does EVE’s first shot at WALL-E shock the
audience? Of what does this remind us?
d) Explore the contrasts between WALL-E and EVE.
e) Consider what this scene reveals about:
i) Power
ii) Freedom
iii) Appearance and Reality
iv) Science and Technology
SCENE 9 – WALL-E’s Favourite Things
a) What are some of WALL-E’s favourite things?
b) Why does he want to share them with EVE?
c) Explain what the exploration of them reveals about both WALL-E and EVE?
d) What happens when EVE sees the plant? Why does this occur?
e) Outline WALL-E’s response to this. What does he attempt to do in the next
scene? What does this reflect about how he feels about EVE? How do film
techniques echo this?
f)
SCENE 20 – Escape Pod
a) What is suggested about technology when we see WALL-E trapped in the escape
pod?
b) What film techniques are used to show EVE’s distress when she sees the pod
explode?
c) Why is this an important turning point in the relationship between WALL-E and
EVE?
d) What does this scene convey about freedom?
SCENE 24 – It Only Takes a Moment
a) Why is the captain surprised when he sees
the images of Earth from EVE’s memory?
b) What is the Captain’s realisation at this point
in the film? How does a high angle camera
shot and music emphasise this?
c) Describe the character of the Captain. What
does he represent about the current state of
the human race?
d) The security footage that EVE sees functions as a flashback. What is its purpose?
SCENE 25 – Code A113
a) When the Captain gives the plant some water he says “You just needed
someone to look after you.” What does he realise once he articulates this
important statement? Which film techniques are used to reinforce his
realisation?
b) Describe the character of Auto. How are film techniques used to develop his
character in this scene?
c) What kind of shot is used of the former captains of the Axiom? What in
particular does it illustrate?
d) Who is the most powerful character in
this scene? Explain your answer.
e) Consider what this scene reveals about:
i) Power
ii) Freedom
iii) Appearance and Reality
iv) Science and Technology
CLOSE STUDY OF CHARACTERS
For each of the characters below, complete the following questions:
1. Which adjectives best describe this character?
2. Select one of these adjectives and outline a scene which illustrates this
quality.
3. How does this character’s physical appearance reflect their personality?
4. What is the purpose of this character in the film?
5. What kind of music would best accompany this character? Explain your
choice.
6. Which colour would best symbolise this character? Explain your choice.
WALL-E
EVE
The Captain
Auto
from Interview with Wall-E’s Writer and Director
by Alex Billington
Wall-E is both written and directed by Pixar's Andrew Stanton, who also wrote and
directed A Bug's Life and Finding Nemo.
Many have questioned where he actually got the idea for the look of Wall-E, whether
it was inspired by E.T. or Short Circuit, but Stanton confirms that it was something
else entirely - binoculars. He recalls playing with binoculars at a baseball game and
thinking that "you don't need a mouth, you don't need a nose, you get a whole
personality just from them." That drove the whole rest of the design and the remainder
came out of logic. They wanted it to be a roving trash compactor that could hide like a
turtle and would have tank treads so he could get over any terrain. "I wanted to see it
as a machine first and as a character second."
Can you tell us the story of how Wall-E went from the idea in your mind with the
binoculars to actually becoming a film here at Pixar?
Andrew Stanton: Well, actually, I'm sorry, there's no short answer to this, but in '94
we were having a lunch about what to do next because we were finishing up Toy Story
and we realized we were already behind schedule-wise if we were going to make
another movie soon. So we came up with A Bug's Life from that lunch, but before we
got to that, we threw out a bunch of other sort of half-baked thoughts. Some of them
just were settings, like an ocean, some of them were your fears, and that's – it's
fascinating to see later that they became Finding Nemo and Monsters Inc. But then we
just had a character we came up with. We came up with the last robot on Earth, this
robot that just keeps doing the same thing, that got left on for whatever reason, and it's
just doing the same job. And I just thought that was the saddest character I had ever
heard of and I just loved that and I remember Pete Docter and I couldn't drop it for a
couple of weeks. We said, wouldn't it be cool if it was sort of like R2D2, you sort of
had to infer based on how it was engineered how it -- it would almost be a movie
about Luxo Jr. through the whole thing.
And then the very next thing we said is nobody will ever let us do it, because we
hadn't even proven ourselves as filmmakers, hadn't proven Toy Story yet and it just
seemed so out there. But as filmgoers, as geeks, we were like, I would go see a movie
like that! So that just stuck up there for a long time and we got completely swept up in
all these other movies and so it wasn't until Finding Nemo that I was having to do
rewrites, so about 2002, so we're jumping to eight years later, almost a decade later,
and I couldn't stop -- so I started thinking about this little guy again, and I said, he's so
lonely, it's such a great character, I don't even know what he's called, I don't why
we've left Earth...
And I just started to answer all that. I found myself very quickly writing the first act
of the movie, which is not that different then what you have here. Then I couldn't
stop. Then, I was like, by the time Nemo came out, this is what I want to do next, and
I was definitely emboldened by the idea that Nemo was so huge. I mean, I had gone
with my gut on so many things on Nemo that seemed iffy and not so sure. The whole
time I was working on them here that it kind of threw me for a loop that it went over
so well and it gave me a lot of confidence to just stick with my gut. So I said, well,
my gut is telling me to do this movie, so I'm going to do it. So it was in 2003 near the
end of the year, Nemo was already out, that I was really thinking seriously about
design and stuff like that. And I knew the design of him was going to be crucial to
how engaging he was and how much you wanted to follow him and how much you
wanted to infer personality on him and the big epiphany was definitely late 2003. I
was at a baseball game and I got the binoculars and I think the rest is known. So it had
a long gestation period, a long time sitting on the stove, simmering.
How did you come up with “Hello, Dolly!” as the film Wall-E watches in his
truck?
Stanton: I know, and I love the choice, too, and I couldn't explain it at first. I just
knew I wanted an old-fashioned song against space, and I just loved the future against
the past, but I thought that's millions of songs. Which one do I pick? And so I started
going into standards and a lot of standards come from musicals, and that sort of led
me to musicals, and I did musical theater as a kid, so I knew a lot of them. I got to
Hello, Dolly!, and I was just hittin' songs on iTunes, and you're just hearing the
beginnings and I hear 'Out there...' and I loved it! I was like, that just works, I can't
even explain, it just works, with the stars and what a great way to kick off the movie.
It kind of propels you into it and it was a great juxtaposition to such a dire
background. I loved the two together. I thought it really balanced the movie and it
really, in a weird way, helped you meet Wall-E before you meet him.
Then when I thought about the song, I said, why do I like this so much and then I
realized not only is it catchy and it has this sort of naiveté to it, but it's about these two
guys that have never left their small town and they want to go out into the big world
and kiss a girl. And I thought -- that's Wall-E, that's it! So I started looking at other
songs, just to see if there would be any other epiphanies, and I got this huge one from
watching the movie and seeing 'It Only Takes a Moment' with the two lovers and
when I saw them hold hands, it was like, that's exactly it, that's how we will convey
that the phrase 'I love you.' When you get that much back from research, you just take
it as fate, you just go -- I know and I'm running with it. I know I will be answering
this question for the rest of my life, but it's a price I'm willing to pay because it just
works.
How do you go about developing a story, like in Wall-E, that really doesn't have
a lot of dialogue. How do you go about writing that?
Stanton: Here's my argument. There's dialogue from frame one. Each of those beeps
and those squawks and those whirrs mean something and they're trying to convey a
specific thing, so I actually wrote the script with dialogue – wrote it just like a regular
script. I would just put the dialogue in brackets. So if he says 'hey, come over here,' I
wrote 'hey, come over here' and I put it in brackets. Now it was a map for me and for
anybody else. When you put in a sound, it's got to convey that. And so it was actually
very conventional how I wrote it.
The only thing I did that was a little unconventional, is the manner in which I
formatted the script. I was very inspired by Dan O'Bannon's script for Alien. His
description paragraphs were not your typical paragraphs, they were actually small
phrases that were all left justified, almost like a haiku, and they created this rhythm of
just being in the moment of quiet and visual. And you found yourself reading the
descriptions much more than you normally do a script because of that form, instead of
just skipping to the dialogue. It really kind of paced you as a reader and gave you the
much more visceral feel of what it will be like to watch that movie. So I used that for
Wall-E -- it really helped.
QUESTIONS
1. Why did Stanton find binoculars inspiring?
2. What were some of the other influences for the physical appearance of
character of WALL-E? Find pictures of these influences and list the similarities
and differences.
3. What is Stanton’s explanation for the choice of music in the film?
4. Stanton argues that there is indeed dialogue in the film. What does he mean by
this?
OPTIONAL SYNTHESIS EXTENSION TASK
Create a multimedia presentation that fully explores a key theme from the novel
Incognito OR the film, WALL-E, OR the novel Fahrenheit 451 OR the novel The Giver
OR the short story There will Come Soft Rains.
Use at least three media, for example: music, painting, poetry, sculture (or a
diorama), photography in your exploration.
Draw at least two comparisons or contrasts between themes in your life and in the
text you choose for this task.