Electronic

Workbooks

S. Battye and D.J. Wort

NCEA LEVEL 1English Workbooks

NCEA LEVEL 1

UNDE

RSTA

NDING VISUAL / ORAL TEXTS1.11INTERNAL

ASSESSMENT

S. Battye and D. J. Wort

ISBN 978-1-877567-51-3

National Certificate of Educational AchievementNational Certificate of Educational Achievement

Sigma English WorkbookNCEA Achievement Standard 1.11

Understanding Visual and Oral Texts

Sigma English WorkbookNCEA Achievement Standard 1.11

Understanding Visual and Oral Texts

List of Contents

Understanding the Standard ……………………………………………1

Training for English AS 1.11 ……………………………………………..2

Task 1 - Keep a Viewing/Listening Log ……………………………..3-4

Viewpoints ………………………………………………………………..5

Task 2 - Recognising Viewpoints ………………………………………6

Example Film - 'Beyond the Edge' …………………………………….6

Task 3 - A Glossary of Visual Language Features …………………7-8

Task 4 - A Glossary of Film Shots …………………………………..9-10

Task 5 - Recognising Film Shots ………………………………………11

Building Visual Effects in Film and Drama …………………………..12

Task 6 - Your Text - Conveying Ideas …………………………………13

Task 7 - A Glossary of Oral Language Features ……………………14

Key Components of Visual/Oral Texts ………………………………..15

Task 8 - Setting - Locating the Story ………………………………….16

Task 9 - Evoking Atmosphere Through Setting ……………………...17

Task 10 - Your Text - Setting and Atmosphere ……………………….17

Task 11 - Setting and Character - 'Whale Rider' …………………..18

Task 12 - Your Text - Setting and Character …………………………18

Setting and Theme ………………………………………………………19

Task 13 - Setting Supports the Theme …………………………...19-20

What Plot and Subplot Mean ………………………………………….21

Plot Structure ……………………………………………………………22

Task 14 - Plot Exposition …………………………………………...22-23

Task 15 - Plot and Character ……………………….…………………23

Plot Complication ……………………………………………………….24

Task 16 - Plot and Interest ……………………………………………..25

An Example of a Personal Response - 'Shadow of the Valley' ……26

Task 17 - Plot - Writing Your Personal Response ……………………26

Identifying Turning Points and Climaxes ……………………………..27

Task 18 - Your Text - A Minor Turning Point Pyramid ……………….28

Task 19 - Your Text - The Major Turning Point Pyramid …………….29

Major Character Development ………………………………………..30

Task 20 - Character Clues from the Text ……………………………..30

Flat or Round Characters ………………………………………………31

Task 21 - The Importance of Minor Characters ……………………...31

Compare or Contrast Characters …………………………………….32

Task 22 - Your Text - Character Venn Diagram ………………………32

Finding the Theme ………………………………………………………33

Task 23 - Your Text - Connecting the Theme and Setting ……...34-36

Task 24 - Your Text - Connecting the Theme and Plot ………….36-38

Task 25 - Your Text - Connecting Theme & Major Character ….…..39-41

Task 26 - Your Text - Connecting Theme & Mouthpiece Characters ..41-42

Task 27 - Your Text - Connecting Theme & Film Language Features ..43-44

Dialogue - What Actors Say ……………………………………………45

Task 28 - Oral Language Feature - Dialogue ………………………..45

The Sound Track - Digetic and Non-Digetic Sound ………………..46

'Vizzini the Kidnapper' …………………………………………………47

Task 29 - Character Clues ……………………………………………..47

Task 30 - Combined Techniques - Guided Notemaking ……….48-50

Task 31 - A Glossary of Film Editing ………………………………….51

Hints for Writing About Techniques …………………………………..51

A Model Essay for AS 1.11 ……………………………………………..52

Task 32 - Drafting a Visual Language Essay …………………….53-54

Task 33 - Drafting a Visual/Oral Sequence Response ………….55-56

Task 34 - Visual Language Features in Graphic Novels ……………57

Task 35 - Your Graphic Novel - Summary Notes ………………..58-59

Task 36 - Graphic Novel - Analysing Essay Structure ………….60-61

Task 37 - Your Graphic Novel - Essay Construction …...……….61-62

Task 38 - Oral Performance - A Monologue ……………………..63-64

Task 39 - Oral Performance - Oratory …………………………….65-68

Task 40 - Review of a Speech …………………………………………69

Task 41 - Oral Performance - Song - Music Video ………………..70-73

Task 42 - Oral/Visual - Games ….…………………………………74-76

Answers to Tasks ………………………...…………………………77-78

This file licensed forschool use only in

2018

NCEA English Workbook AS 1.11 - Understanding Visual and Oral Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-51-3 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]

13 Visual Techniques

Task 6 Your Text - Conveying Ideas

1 Choose two visual language features from the list on the left and draw lines from each of them to one or two of the effects on the right which describe how the technique conveyed an idea in your studied text.

Gives me information about the setting (time, place, kind of people).

Gives me feelings about the setting (pleasure, fear, anticipation etc.).

Gives me information about the plot (past, present, future action).

Gives me feelings about the action (tense, fast, spectacular etc.).

Gives me information about the characters (outsides reveal insides).

Develops my feelings about the characters (love, hate etc.).

Shows me an idea (developed one of the writer’s themes).

Combines with another aspect of the text to increase its impact.

Improves the illusion that the film / play is real as I watch.

2 Record in the Response Template below the name of one visual feature and three detailed examples from the text you have studied (e.g. film, television programme, stage play). State how the feature is used and in the grey boxes record a clear explanation of one idea that is developed. Include in one or more responses an explanation of the impact of the technique on you as an audience and explain what the director’s purpose might be.

Example :

Costume

The Capulets wear

black costumes and the Montagues wear

As I watched the play Romeo and Juliet I could see that the idea the

director had was that she would represent the Capulets as being ‘negative’

characters by costuming them in black and the Montagues who represent

the ‘good’ characters were costumed in red.red costumes.

lighting

colour

costume

make-up

special effects

film shots

camera angles

symbols

Visual Technique ………………………………..

Details of example 1 …………………………...

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Visual Technique ………………………………..

Details of example 1 …………………………...

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Details of example 2 …………………………...

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Details of example 3 …………………………...

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© Sigma Publications Ltd 2018

This file licensed forschool use only in

2018

NCEA English Workbook AS 1.11 - Understanding Visual and Oral Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-51-3 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]

19 Setting

Setting and Theme

Setting is important because writers, directors and visual artists use it to help us understand their ideas (themes). Directors want us to understand the social, political and historical context of their texts. Here are two well known cases where the writers have done this.

Example A : Film - Slumdog Millionaire Director Danny Boyle and screenwriter, Simon Beaufoy

In setting the film Slumdog Millionaire in India in 2006, director Danny Boyle and screenwriter Simon Beaufoy’s purpose, was firstly to honour the book, Q & A written by Vikas Swarup, by drawing attention to the film’s theme; that with hope, luck and determination we can overcome life’s obstacles. The film tells the story of one child, Jamal Malik, a Muslim ‘slumdog’, who despite his lack of education wins India’s version of Who Wants to Be a Millionaire? As Jamal is about to be asked the final question he is detained and interrogated by the Mumbai police who, acting on the information of the TV show host, believe that Jamal must be cheating. In a series of flashbacks set in the social context of Mumbai and India, Jamal reveals character forming passages in his life as a street urchin, pick pocket, and call centre chai wallah (tea boy) that have led to him being able to answer the TV show questions correctly. We learn that his motivation is not to win the top prize but to attract the notice of Latika, a girl whom he has loved since childhood who has been swept up in a life of prostitution and crime. The use of mis-en-scène to create contrasting scenes of immense wealth and immense poverty using elements such as close-ups, lighting and sound give the film its power to shock, surprise and amuse. Every frame is filled with interest.

The film’s message in terms of the social context of the central character’s life is that against the odds, Jamal’s belief in his destiny with Latika comes true because of his determination to succeed. The film forces us also to think about the destructive aspects of religious wars between Hindu and Muslim, the madness, hype and pressure that surrounds game shows and the huge gap that still exists between rich and poor in India. The target audience for the film is people from the age of twelve up, who like Indian or British crime, romance and adventure films.

Example B : Drama Production - The Pohutakawa Tree Playwright Bruce Mason

The Pohutakawa Tree by Bruce Mason is set in the 1950’s Te Parenga, a fictionalised country district in the North Island of New Zealand in and around the home of the central character, Aroha Mataira a widow and descendant of a warlike Maori chief. The play takes place over the course of a specific time frame of six months. Aroha, a proud Christian woman, is the mother of Queenie (17) and Johnny (18). A pohutakawa tree which overhangs the porch of the house, not only symbolises a place - New Zealand, but also the blood spilt during the Land Wars between Maori and Pakeha and Aroha’s declining hold on her property and family.

In terms of its social context, the play revolves around a land ownership conflict between Aroha Mataira, and the Atkinsons, a British derived land owning family who have employed the Matairas to work in their orchards for many years. When Queenie falls for a young barman, Roy McDowell and becomes pregnant, her mother is horrified and demands that they immediately get married.

The purpose of the play is to highlight the conflict between Maori and Pakeha attitudes towards Christianity and morality and the sale of land. The intended audience for the play is the general public of New Zealand.

1 The following is list of common kinds of settings created in texts such as a film, television programmes, drama productions, graphic novels, radio programmes or oral presentations. Choose one that suits the text you have studied and explain how the setting has made the director/writer’s ideas clear and powerful to you.

Common Themes : The writer may want to show us what happens to …

an extraordinary community (social) a threatened community (social / political) an inspiring community (social) a possible future community (social / political) a nearly-forgotten community (historical / social) a changing community (social / political) a place with no permanent community ( social / political) a divided community ( social / political)

Title : ………………………………………………………………………... Author /Director: ……………………………………………….

a) Explain how the director has created a setting that is authentic or atmospheric. ………………………………………………………

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Task 13 Setting Supports the Theme

Task 13 continues on next page

© Sigma Publications Ltd 2018

This file licensed forschool use only in

2018

NCEA English Workbook AS 1.11 - Understanding Visual and Oral Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-51-3 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]

45 Sound Techniques

Task 28 Oral Language Feature - Dialogue

Dialogue - What Actors Say

1 Read the dialogue between Koro and Porourangi (Film : Whale Rider - Director : Niki Caro.) They are in the hospital where Porourangi’s wife has died. Answer these questions using the dialogue clues. Try reading the dialogue aloud. Consider how each character feels about the situation from their point of view.

Read ‘between the lines’. Be brief.

Who is he? ..…………………………………………………………. About how old? ………………………………………………….

What ethnicity (race)? ……………………………………………… What does he want? …………………………………………….

How does he feel? .......………………………………………………………………………………………………………………………...

What’s his message to Porourangi? ...………………………………………………………………………………………………………..

My

Res

pon

seTh

e R

elat

ions

hip

Por

oura

ngi

Kor

o

Who has the most status in the scene? ………………………………………………………………………….…………………………..

Is Koro being a good father to Porourangi? ………………………………………………………………………….……………………...

Does Porourangi accept this relationship? ………………………………………………………………………….……………………….

Do they care about each other? ………………………………………………………………………….…………………………………...

Who is he? ..…………………………………………………………. About how old? ………………………………………………….

What ethnicity (race)? .………………………………………………………………………………………………………………………....

What does he want? …………………………………………………………………………………………………………………………….

How has his wife’s death affected him? .…………………………..………………………………………………..…………………….....

I feel the situation is ………………………………………………………………………….…………………………………………………

I feel Koro is behaving (how?) ………………………………………………………………………….……………………………………..

I feel Porourangi is behaving (how?) ………………………………………………………………………….……………………………...

I feel the writer / director’s main theme (idea) in this scene is that ……………………………………………………………………….

I feel the purpose of this scene is to show (what?) …………………………………………………………………………………………

Reading this dialogue aloud I felt that Porourangi was …………………………………………………………………………………….

Reading this dialogue aloud I felt that Koro was …………………………………………………………………………………………....

Koro : Come home. Start again.

Porourangi : What, you mean just pretend it didn’t happen?

Koro : That’s not what I’m saying.

Porourangi : You didn’t even look at her, Dad. She died.

Koro : Son -

Porourangi : No, No, No!

DialogueThe spoken word is the most powerful of all sound techniques. It is so powerful that a whole art form - the radio play - developed and succeeded with no visual support at all. The plot and themes of the story spring from what people say as much as from what they do. Speakers create the characters for us when they talk to them or talk about them. They also create their own characters for us when we hear what they say (and choose not to say). Both their ideas and the words they choose to communicate them tell us all sorts of things about their characters, and the way they speak tells us their personalities.

One big difference between dialogue in a film or drama production and dialogue in a book is that it matters more. That is because there is no very good way for the author to explain things to you in the ways that a book can. Another is that the words are brought to life by the actor, and all the extra things that a human voice can add to the words increase their impact. These voice techniques are described in AS 1.6 (Construct and Deliver an Oral Text).

© Sigma Publications Ltd 2018

This file licensed forschool use only in

2018

NCEA English Workbook AS 1.11 - Understanding Visual and Oral Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-51-3 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]

63 Oral Language Features

Task 38 continues on next page

Task 38 Oral Performance - A Monologue

1 Read the following monologue from the play Ka Shue (Letters Home) by Lynda Chanwai-Earle aloud. A monologue is a piece written either on its own or as part of a longer play to be performed by an actor either in live theatre or on radio.

a) Using the Glossary of Oral Language Features on page 14, identify the Oral Features used in this monologue. There are at least eight examples.

Character : Abbie Leung (Cantonese/Chinese)

The passage below is from a one-woman play about growing up Chinese in New Zealand. Much of it is based on the experiences of Lynda Chanwai-Earle’s own great-grandmother and down through the female lineage to herself. The play is written as a series of monologues creating an entire one act play. The play can be performed by one person as Chanwai-Earle has done on more than one occasion.

A real event referred to in the monologue, the sinking of the SS Ventnor in the Hokianga, happened in 1902 when the ship was returning from Dunedin to China with the coffins of 500 Chinese gold miners on board. The character, Abbie was born in China; now she is a divorcee and business woman. Here she is reminiscing while recording a letter to her daughter on a dictaphone.

Glossary : Paw Paw : Grandmother, Mamee : Mother, Guilo : White person

A cat’s skeleton in the backyard! - Rain’s been coming down in buckets! Typical for Wellington. Neighbour’s backyard slid down the hill onto my pathway and there it was. I thought it was a dead person at first, got such a fright.

She laughs, then pauses.

It reminded me of old Aunty Ying’s tales about the bones. She said they were on this ship. What was it called? (recalls) The Ventnor... Went down off the Hokianga, sometime around 1900. She insisted it was carrying all these exhumed bones of old Chinese miners. [Pause]Imagine hundreds of bodies on a ship - yuk, creepy. Anyway Aunty said it sank because of the fighting (laughs). She’d get all worked up when she’d tell me about it. Apparently it was all the Hoy clan’s fault, trying to pick a fight with our clan. Aunty reckons if the Hoys weren’t so greedy then the ghosts wouldn’t have died a second death. The ghosts had a scrap! They had a big ghost punch-up and knocked a hole in the side of the boat! Old grudges ...

She laughs at first, then her mood changes as she thinks of Pawpaw. She stops the dictaphone, placing it back on the chest.

I wish ... I wish I could understand you Mamee. And I wonder why I hate you sometimes. Guilo men really don’t make good lovers. You were right after all. But neither do our own flesh and blood. I’d rather have a tall white hairy man with a fickle temperament than marry someone like my father! ... A sinking ship, [laughs] God I used to get so frustrated with Nigel. He’d sit on the loo for hours playing correspondence chess. I’d stand shouting at the door, ‘If our homewere a sinking ship ...” [pauses] That photograph. The whole of Marsden Girls. Prissy little uniforms. Hung on the toilet wall for years. Went all yellow and mildewed from age. I’d sit on the loo and stare at myself as a child. There I sat, smack bang in the middle of all those white faces. The only coloured one. A five-year-old. [pause] I remember ... They took that photo the day after our swimming lesson

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Lynda Chanwai-Earle

© Sigma Publications Ltd 2018

NCEA English Workbook AS 1.3 - Unfamiliar Written Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-26-1 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]

NCEA LEVEL 1EnglishWorkbooks

NCEA LEVEL 1

STUD

IED WRITTEN TEXTS1.1

NCEA LEVEL 1

FORMAL WRITING

1.5

NCEA LEVEL 1

STUD

IED VISUAL OR ORAL TEXTS1.2

NCEA LEVEL 1

CREATIVE WRITING

1.4

NCEA LEVEL 1

UNDE

RSTA

NDING VISUAL / ORAL TEXTS1.11NCEA LEVEL 1

RESP

ONSES TO READ TEXTS1.10

NCEA LEVEL 1

INFO

RMATION LITERACY SKILLS1.9

NCEA LEVEL 1

CONN

EC

TIONS ACROSS TEXTS1.8NCEA LEVEL 1

CREA

TE A VISUAL TEXT1.7

NCEA LEVEL 1

CONS

TRUCT & DELIVER ORAL TEXT1.6

NCEA LEVEL 1

UNFA

MILIAR WRITTEN TEXTS1.3EXTERNAL EXTERNAL EXTERNAL

INTERNAL INTERNAL INTERNAL

INTERNAL INTERNAL INTERNAL

INTERNAL INTERNAL

Class access to the following Level 1 achievement standard PDF workbooks is available only to New Zealand schools under a signed user license with Sigma Publications. Individual students may buy these workbooks via the i-Rite app store. Go to the e-book page on the Sigma website for more information.

Electronic

Workbooks

About the AuthorSusan Battye is an experienced teacher of English and Drama who has taught at secondary schools in Westland and Auckland. The creator of e-media resources for Media Studies, Drama and Dance, Susan’s many English and Drama textbooks are used widely in both New Zealand and Australian primary and secondary schools.