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Find advice as to how to help your students learn to creatively critique each other's work

Find advice as to how to help your students learn to creatively critique each other's work. The resource includes useful questions that can be used as a structure for critique and review.

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From page to game: Multimodal narratives

This unit focuses on visual literacy and comprehending sequential art narratives such as online games. Multimodal texts, which would commonly be classified as popular culture, will be examined in such a way that their literary value will be revealed and appreciated. The driving question for this unit is How can we transform ...

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47 Degrees: Unit of work

This unit of work has been written to support 47 Degrees, an account of the experiences of writer Justin D'Ath during the 2009 Black Saturday bushfires in Victoria. Explore themes of belonging, bravery, community, grief, resilience and the environment. This unit provides practical teaching ideas and an assessment task

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Film pre-production

The resources on this webpage are designed to build understandings of each element of film pre-production including directing, acting, cinematography, story-boarding, production design, the score and sound design. The resources support the development phase of film-making and/or assist in development of critical literacy ...

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Film production

The resources on this webpage are designed to build understandings of each element of production including managing a film set and creating a production brief. The resources support the development phase of film-making.

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Film post-production

The resources on this webpage are designed to build understandings of each element of film post-production including editing, sound and film promotion. The resources inform the development phase of film-making and/or assist in development of critical literacy in relation to films and media.

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The Lost Thing: Unit of work

This unit of work has been written to support The Lost Thing, a quirky picture story book about finding your place in the world. It explores themes of belonging, bureaucracy, conformity, dystopia and friendship. This unit provides practical teaching ideas, an assessment task and an essay by Gary Crew.

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Film it! Screenwriting

Screenwriting is the act of writing what's known as a script or screenplay for film, television and web series. It involves a special set of rules that makes it different from a book or play. This module of Film It covers formatting, scene writing, script structure, themes, and character. Writing the script is part of ...

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Capture

Through this filmmaking project, students explore the visual and sensory language of film, working with their peers and teacher(s) to create a short film through a scaffolded process of development, pre-production, production and post-production. Detailed notes and associated support materials accompany each step of the ...

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Overview of short films

The resources on this webpage are designed to build understandings of the characteristics of short films and the qualities that make them successful. The resources inform the development phase of film-making and/or assist in development of film analysis skills.

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Elements of Myth

In this lesson, students will read myths, discuss the elements of this literary form, and dramatize a myth of their choice. They will write scientific, research-based reports, as well as fantastical stories to explain the natural phenomena of the world.

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Us Mob Walawurru: Unit of work

This unit of work has been written to support the book Us Mob Walawurru. The book is set in the 1960s in an Aboriginal community in Central Australia and follows the life of a young Luritja girl. It explores the cultural challenges faced by both the community members and non-Indigenous people. The story touches on various ...

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Writing Fables

How do the events in a fable relate to the moral of the story? In this lesson, students will engage in the writing process to create original fables and perform a skit. They will review the elements of a fable and develop an understanding of how to create a centralized focus in a narrative.

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Mirror: Unit of work

This unit of work has been written to support Mirror, a picture story book set in Morocco. It explores themes of family, identity, and cultural interactions. This unit provides practical teaching ideas, an assessment task and an essay by Robin Morrow.

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Refugees welcome here

This resource embeds the use of online collaboration tools and 21st century learning skills in a student-centered hands-on project designed to welcome refugees into their community. The syllabus outcomes are aligned to NSW Stage 4 English, Geography or Visual Arts but this could be used with older or younger students by ...

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Koorie Cross-Curricular Protocols for Victorian Government Schools

The Koorie Cross-Curricular Protocols for Victorian Government Schools are applicable to schools intending to develop activities that involve the use of Koorie cultural expressions, including stories, songs, instrumental music, dances, plays, ceremonies, rituals, performances, symbols, drawings, designs, paintings, poetry, ...

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How to be funny

What is the key to being funny? As Tim Ferguson explains, if you can laugh, you can write comedy. Has something funny happened to you lately? Or is there something in particular that you find puzzling or amusing about the world around you? Put your thoughts on paper and experiment with telling your story in different ways. ...

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Hannie Rayson on the Australian voice in theatre

How important do you think it is to hear Australian stories told on stage? Listen as Hannie Rayson explains her early beliefs about where great drama comes from. After watching this clip, try writing a dramatic scene that takes place at a family barbeque.

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Stories without words

Learn how Australian story-teller, artist and academy award winner, Shaun Tan uses emotive illustrations to tell a story. You will also create your own character and tell a story using illustration.

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Hannie Rayson on writing complex roles for women

Watch as Hannie Rayson describes her early desire to write multidimensional, complex roles for women in her plays. What was this in response to?  Why is it important for audiences to see female characters as well as male characters driving drama in plays?