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Table of Contents

About Us 3

Art of Smart Education 3

The Authors 3

Area of Study: Discovery 4

Understanding the HSC English Area of Study - ‘Discovery’ 5

How to Get Full Marks for the Area of Study Unseen Texts 23

Study Plans, Techniques & Exam Skills 32

How to Find the Perfect Related Text 33

How to Analyse a Visual Text 45

How to Break Down and Understand HSC English Questions 52

Cheatsheets 59

Visual Techniques 60

Film Techniques 63

Literary Techniques 67

HSC Practice Questions 79

Area of Study: ‘Discovery’ 80

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About Us

Art of Smart Education

At Art of Smart, we believe that a great tutor does more than teach! That’s why we’ve pioneered a proven approach called ‘academic mentoring’.

We teach you the syllabus for your specific subject as well as mentoring you, equipping you with proven study, exam and life skills! We work with you 1 on 1 to identify your specific strengths and challenges so we can address your individual learning needs to help you master the school syllabus and improve your results.

So if you’re behind, we’ll help you get up to speed, or if you need a challenge we’ll push ahead – either way you’ll get exactly what you need to help you achieve your goals. That’s why we’ve helped over 2,500 students achieve an average mark increase of 19.41%!

The ‘How to Get a Band 6’ Guide Series is a free series designed to help all HSC students perform at their best with tips and tricks from the best!

The Authors

Maddison Leach completed her HSC in 2014, achieving an ATAR of

98.00 and Band 6 in all her subjects. Having tutored privately for two years before joining Art of Smart, she enjoys helping students through the academic and other aspects of school life, even though it sometimes makes her feel old. Maddison has had a passion for writing since her early teens, having had several short stories published before joining the world of blogging and writing. She’s currently deferring her studies until she starts her Bachelor of Communication at UTS in the spring.

Elizabeth Goh isn’t a fan of writing about herself in the third person,

even if she loves writing. Elizabeth joined Art of Smart in 2014 and is both a Senior Academic Coach and the Digital Marketing Manager. She’s since done a mish-mash of things with her life which includes currently studying a Bachelor of Arts (Politics and International Relations) with a Bachelor of Laws at Macquarie University alongside a Diploma of Languages in German, working for NSW Parliament, and collecting antique typewriters. Elizabeth is also an active youth mental health

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Understanding the HSC English Area of Study -

‘Discovery’

Introduction

Have you started the Area of Study ‘HSC Discovery’ and have found yourself staring blankly when your teacher asks you:

“What is discovery?”

You might know exactly what the word means, but how can you explain it in a way where it is an enduring idea rather than merely a word in the dictionary?

To help you get your head around HSC Discovery, we’ve used two fairly popular Hollywood films,

Captain America: The Winter Soldier (2014) and The Theory of Everything (2014) to illustrate discovery

as a concept so you can then apply this to your own specific prescribed text.

Both films are filled with discoveries, and you’ve probably watched them – and if you haven’t, please do! Also, they’ve both been out for a while, so there will be spoilers. Sorry, not sorry. Keep in mind that you should not use Hollywood films for your related texts. Hollywood films often often compromise meaningful substance for entertainment value - just think of Michael Bay asking for more explosions for no reason other than it’s fun.

Brain Dump!

Before you start, create a mind-map of everything you think Discovery is about. Your brain dump can be anything from quotations to films to songs to words. This will help to warm you up for what you think HSC Discovery might be about. Here’s mine below.

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The Syllabus

How to Read the Syllabus

Your teacher has probably told you about the HSC Syllabus before – it will be your best asset for absolutely slaying HSC Discovery, so you’ll need to keep it handy.

If you haven’t seen the Syllabus yet, you had better click here and keep it handy! (Pst, important stuff starts on Page 9!)

When you’re studying English, it might seem like your teacher is grabbing concepts out of the air, but they’re not. They’re actually just going through the Syllabus as it provides a long-winded definition on what discovery is, and how it can be experienced.

Reading it can be a very laborious task, especially when you’re not sure what a great lot of it means.

That’s where we deconstruct it!

“Represented in and through texts.”

The Syllabus is very clear about what it expects from you:

“This Area of Study requires students to explore the ways in which the concept of

discovery is represented in and through texts.“

To ‘explore‘ a text means to ‘enquire into, or discuss a subject in detail in order to learn more about the subject’. What you are exploring is the concept of HSC Discovery, and how it is represented.

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Thus, in order to understand what you’re supposed to be doing with the concept of HSC Discovery, you must first understand the concept of representation in English.

In literary theory, representation is:

-

To look like or resemble;

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To stand in for something or someone;

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To present a second time; to re-present.

If we were to apply this to Captain America: The Winter Soldier, you’d get this:

When you’re exploring the concept of HSC Discovery, you need to figure out how the concept has been represented in your text.

When you’ve wrapped your head around the concepts of HSC Discovery, make sure to ask yourself how that concept has been represented.

In other words, ask yourself how ‘[Discoveries] can lead us to new worlds and values’ may look like in your text, or what stands in for this concept.

1. Go through the Syllabus and highlight keywords (e.g. ‘sudden’ and ‘provocative’) that you do not understand.

2. Look up these words in a dictionary, and find two synonyms for the word. This will help you to understand what it means.

3. Rewrite the syllabus in your own words. 


To look like or resemble:

Steve Rogers/Captain America takes on the colours of the Star-Spangled Banner (red, white and blue), in order to resemble a human-version of the flag of the USA.

To stand in for something or someone:

Steve Rogers/Captain America’s practice of strong American patriotism, loyalty for his nation and friends, and honour in his service to the American military are reflective of the World War II-era values of patriotism, loyalty and honour expected of the people, and of their soldiers.

To present a second time; to re-present:

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What is HSC Discovery?

The organic dictionary definition of ‘discovery’ is:

‘the action or process of discovering, or being discovered’, which (when you remove the

annoying word, ‘discovery’ from its own definition) is ‘to find or search’. So basically, you are exploring ‘the act of finding, or searching’.

However, there are loads of ways that you can do that, and being a fan of the Socratic method of learning, I’ll be asking questions to help you answer your question on the different wants of discovering things.

This is why I’ve have broken up the Syllabus: where the Syllabus provides a definition, I’ve provided questions which can help guide your understanding of the concept.

1. What is the definition of Discovery?

Discovery can encompass the experience of discovering something for the first time or rediscovering something that has been lost, forgotten or concealed.

2. How can you experience a Discovery?

Discoveries can be sudden and unexpected, or they can emerge from a process of deliberate and careful planning evoked by curiosity, necessity or wonder.

3. How can you react to a Discovery?

Discoveries can be fresh and intensely meaningful in ways that may be emotional,

creative, intellectual, physical and spiritual. They can also be confronting and provocative.

4. What can making a Discovery do for you?

They can lead us to new worlds and values, stimulate new ideas, and enable us to speculate about future possibilities. Discoveries and discovering can offer new understandings and renewed perceptions of ourselves and others.

5. How can we relate to Discovery?

An individual’s discoveries and their process of discovering can vary according to personal, cultural, historical and social contexts and values.

6. Who or what does Discovery affect?

The impact of these discoveries can be far-reaching and transformative for the individual and for broader society. Discoveries may be questioned or challenged when viewed from different perspectives and their worth may be reassessed over time. The ramifications of particular discoveries may differ for individuals and their worlds.

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1. What is the definition of HSC Discovery?

Discovering something for the first time.

Everyone has to discover something for the very first time. Whether it’s catching a ball or riding a bike, we have all had to discover what it is and/or how to do it. How we receive, comprehend and respond to these Discoveries is defined by who we are and our values.

Sam Wilson: You must miss the good old days, huh?

Steve Rogers: Well, things aren’t so bad. Food’s a lot better, we used to boil everything.

No polio is good. Internet, so helpful. I’ve been reading that a lot trying to catch up.

Sam Wilson: Marvin Gaye, 1972, Trouble Man soundtrack. Everything you missed jammed into one album.

Steve Rogers: I’ll put it on the list.

In Text:

At the beginning of The Winter Soldier, Steve is still getting used to the fact that he’s been frozen for 70 years and is in the current day USA as opposed to 1945 Nazi Germany fighting a war for the Allies.

With so much time going by, life has progressed without him, and new things have popped up. In a bid to catch up on lost time, Steve creates a list of things he needs to go through and thus discovers new things about the world around him.

How is it represented:

The use of the close up on Steve’s notebook and the lengthy list he has already included emphasises his excessive desire to discover new things in his world. 


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Rediscovering something that has been lost, forgotten or concealed.

Discovering can also mean rediscovering something lost, forgotten or concealed.

Occasionally, things can be lost; it could be something treasured like necklace lost at the park or an essential piece of a once complete puzzle (‘Assassin’s Creed’ series, the scattered pieces of Eden).

Things like a memory can easily be forgotten, even if it was crucial to that person.

Alternatively, in some cases, things can be concealed, like a family secret (‘The Book Thief’ by Markus Zuzak, concealing of Max in the basement) or a child’s adoption (‘Superman’, the fact that he’s an alien from Krypton).

What has been lost, forgotten or concealed could be lost as a result of carelessness (e.g. a bad quality clasp on the necklace, causing it to drop), or as a result of time (e.g. the event occurred as a young girl, and now they are an old woman with failing memory).

Natasha Romanoff: And there’s Stark’s father.

Steve Rogers: Howard.

Natasha Romanoff: Who’s the girl?

In Text:

In The Winter Soldier, Natasha and Steve find an old S.H.I.E.L.D base at the abandoned and derelict Army training camp where Steve was initially trained as a soldier. Upon the wall are portraits of people he knew from 1945, both alive and dead. Steve, who has not revealed his fondness for Peggy Carter (in the right portrait) to Natasha, purposely conceals the truth, only to rediscover her as he remembers her back in 1945. Along side her are people that he knew and worked with – Chester Phillips and Howard Stark – both of whom have died over time.

How is it represented:

The juxtaposition of Natasha and Steve’s reactions towards the images shows the contrast of how they both discover the past – whilst Natasha is ignorant towards their significance, the close up on Steve’s face represents his internal turmoil as tries to consolidate his reality from 1945 to current day. 


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2. How can you experience a Discovery?

Discoveries can be sudden and unexpected.

Discoveries can happen when we don’t expect them, or when we least expect them. When discoveries come suddenly, they are often unplanned, and can often come as a shock to the person making the discovery. As such, the person’s reaction may be unpredictable, and may trigger a reaction.

Steve Rogers: Bucky?

The Winter Soldier: Who the hell is Bucky?

In Text:

After a lengthy fight scene with The Winter Soldier, Steve ends up discovering that the man is actually Bucky Barnes, his best friend who he believe died falling from a train during World War II – a person he least expected to be alive.

How is it represented:

Throughout the fight scene, the dramatic camera angles take the side of whomever is winning at the time. The sudden discovery of Bucky being the Winter Soldier finds Steve looking up at Bucky, but the camera angle focusing straight upon him, as it does with Bucky, brings them both together as equals as they once had during World War II. This exacerbates their respective contrasting reactions of shock (for Steve) and confusion (for Bucky). 


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3. How can you react to a Discovery?

Discoveries can be fresh and intensely meaningful in ways that may be emotional,

creative, intellectual, physical and spiritual.

Humans are deeply complex being with so many layers which make us unique. In everything we do, we experience it differently to any other person. We are made up of so many different

components which alter how we respond to things. As such, we can respond to things like so:

Emotionally:

When we discover, we can feel different emotions – happiness, sadness, rage or envy (‘Band of Brothers: Why We Fight’, the discovery of the concentration camp forces soldiers to contemplate the cruelty of man).

Creatively:

As a result of a discovery, we can see things different to the way we previously saw things – from logically to abstractly (‘The Producers’, Leo Bloom’s auditing mistake has Max Bialystok discover a new get-rich plan).

Intellectually:

When we make a discovery, we can process it logically – academically. (‘The Martian’, Watney’s discovery that he’s been abandoned on Mars and has to survive himself).

Physically:

When we discover something, we may become physically ill or energised from the discovery (‘Amadeus’, Constanze’s mother faints when Mozart announces their engagement).

Spiritually:

A discovery can force us to contemplate life in a new way which inherently alters the way we relate to the world around us (‘The Danish Girl’ by David Ebersdoff, Einar’s first touch of the woman’s dress whilst modelling for his wife and the realisation of his real gender).

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Jane: Are you alright?

Stephen: I’ve got an idea. I’ve got an idea Jane!

In Text:

In The Theory of Everything, his progressively weakening muscles forces Stephen to become entrapped in a sweater as he tries to place it over his head without Jane’s help. While he is stuck, he looks at the fireplace, and the way the embers flicker through the sweater. As he observes it, it inspires him, and he begins to see the universe very differently as he did before, and culminates in his cosmological theories.

How is it represented:

The blurring of the visuals of both the human eye and the fire through the sweater allows us to view the discovery Stephen has made from his point of view. By melding the fire and the human eye into a colour scheme of yellow upon black, we view a black hole in a volatile state,

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They can also be confronting and provocative.

When we make a discovery, we respond to it in one of the ways above. This can be confronting: it can unsettle and threaten the individual in a negative way such as shock or sadness (‘The

Imitation Game’, Alan’s lie that he does not love Joan).

It can also be provocative in the sense that the individual may choose to act on the information due to the discovery (‘Captain America: The First Avenger’, Steve discovers Allied soldiers are being kept as prisoners of war, decides to save them himself).

This discovery can thus set the individual on a journey which challenges their beliefs or values, or alters the way they relate to the world and those around them.

Stephen: Motor neurone disease. Lou Gehrig’s Disease. He was a baseball player.

Brian: Motor what? Sorry, I’m lagging behind in my pioneering work on rare automotive and baseball diseases. Come on, let’s go to the pub.

Stephen: I have two years to live.

In Text:

When Stephen discovers that he has motor neurone disease, he withdraws into himself and isolates himself from others. Brian, obviously concerned for his wellbeing, enquires about his behaviour change, and when is told, initially deals with it light-heartedly and with denial. However, when told that Stephen only has two years to live, he finds himself shocked that his best friend has a potentially fatal disease.

How is it represented:

In this scene, there is a distinct lack of sound effects, especially music. Music, and especially Wagner, plays a vital role in Stephen’s life. The focus upon the dialogue in the absence of background sound or music, accompanied by an unmoving camera focus upon Brian’s focus forces the audience to view Brian’s shock and confusion, and thus how he is confronted with the sudden discovery of Stephen’s condition. 


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4. What can making a Discovery do for you?

Discoveries can lead us to new worlds and values, stimulate new ideas, and enable

us to speculate about future possibilities.

Discoveries are intensely personal and the way that we process a discovery can lead to a different way of thinking or feeling.

In some cases, discoveries and the act of discovering drives us to reprioritise what we consider to be important, and forces us to contemplate why we valued it in the way that we did (‘The

Picture of Dorian Grey’ by Oscar Wilde, Dorian’s discovery of the mirror and cult of youth and

beauty).

Discoveries can validate or legitimise our beliefs and values, especially when they challenge what we once held dear.

Jane: I want us to be together, for as long as we’ve got. And if that’s not very long then – well, that’s just how it is. It will have to do.

In Text:

When she discovers his illness, Jane’s witnessing of Stephen’s unhappiness and suffering causes her to contemplate her future with him. The discovery validates her love for Stephen with the consideration that he may die in two years.

How is it represented:

The high-angle shot upon Jane from Stephen’s shoulder showcases her vulnerability when confronting Stephen. This shot is synonymous with her reprioritisation of her thoughts and

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Discoveries and discovering can offer new understandings and renewed perceptions

of ourselves and others.

A discovery is the assumption of new information, and thus, helps us to expand our world view. By being challenged or questioned by discoveries, we can have a new understanding on an area, or view ourselves or others in a different light due to it.

In some cases, discoveries can reaffirm what we once knew (‘The Avengers’, Loki’s adoption and his difference of appearance), or can provide a new way of thinking (‘Poccohontas’, John Smith’s admiration of Native American culture and desire to understand it).

In other cases, we may see ourselves differently, and regard ourselves in the past, present and future self.

STEPHEN watches everybody talking, eating, drinking, being wonderfully, effortlessly dextrous. FRUSTRATED, ENVIOUS, and saddened, STEPHEN watches closely then, before emotion breaks through, rises, grabs his TWO WALKING STICKS and starts to leave.

In Text:

Although he has adapted somewhat to his illness, the discovery and experience of motor neurone disease forces Stephen to view himself different to others who do not experience the illness. He observes their ability to do things that the Stephen without motor neurone disease could once do with ease, but the current Stephen can no longer do.

How is it represented:

In this scene, the camera angle forces the viewer to see Stephen through the interactions across the table. His struggle to feed himself with some difficulty is juxtaposed with the ease of movement of the dinner guests, exacerbating his condition. When the camera commits to a long shot of the table with a close up of the hands over faces, the audience is immediately reminded of the opening scene where is nimble and able when riding his bicycle – a stark contrast due to his condition to not only the audience, but to Stephen. 


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5. How can we relate to Discovery?

An individual’s discoveries and their process of discovering can vary according to

personal, cultural, historical and social contexts and values.

There are many components that can alter the way we view a discovery, and make a discovery. As multifaceted beings, our background, history and personal social contexts shape our beliefs and values as these are the components which give us substance and understanding.

Personal context:

Our personal context is the one which we bring to the table. It is who we are against the rest of the world. It is our relationship to ourselves, others and the world around us.

Cultural context:

Cultural context involves the society we live in, and how we express ourselves through art, morals, law, custom and habits which can affect our behaviour and our opportunities (‘The Last Samurai’).

Historical context:

Where we are situated in the history of the world and mankind heavily influences how we can make a discovery, or how we process a discovery as events and attitudes can

influence how it can be viewed (‘Briar Rose’ by Jane Yolen, discovery of grandmother’s Holocaust experience).

Social context:

Our immediate physical and social environment causes us to react in a way which would be appropriate for ourselves against what we value and believe. In some cases, our social context may emphasise our qualities, or challenge them (‘Testament of Youth’ by Vera Brittain, restriction on women’s education)

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Steve Rogers: By holding a gun to everyone on Earth and calling it protection? This isn’t freedom. This is fear.

Nick Fury: And it’s getting damn near past time for you to get with that Programme,

Cap.

In Text:

When Nick Fury reveals the designs for the Triskelion to Steve, Steve is immediately infuriated with it. As a ‘fossil’ from 70 years ago, his cultural context was the fight against oppression (Nazi Germany), with the belief that only people who should hold a gun are military, and fighting for their nation and freedom. As such, his idea of the liberty to live freely is embedded in the same freedoms offered in 1945 – one without an oppressive government. Fury, however, asserts that that was the thinking of a bygone era.

How is it represented:

The use of red, blue and white in this scene substantiates Steve’s claim of the classic American freedom. The discovery of the Triskelion forces him to consolidate his beliefs and values of freedom, and the colour scheme emphasises his representation of the old American values in a new world. 


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6. Who or what does Discovery affect?

The impact of these discoveries can be far-reaching and transformative for the

individual and for broader society.

Some discoveries are not restricted to the individual, but can be far felt by those around them. In some cases, the discovery may be so substantial that it is an experience shared and enjoyed by a community (‘Jurassic World’, splicing of dinosaurs for entertainment).

This can amount to a change in values due to an amount of new information entering into one’s knowledge, and it can be transformative in how people assume and utilise the information (‘Black Books’, Manny and ingesting the Little Book of Calm’).

Jane: So–what do cosmologists worship then?

Stephen: A single unifying equation that explains everything in the universe.

In Text:

Stephen’s transformation of science from purely understood by theoretical physicists and scientists to popular science translates the way in which the common person took on information about the origins of the universe. The publication of A Brief History of Time becomes an instant best seller, and transforms the way people understand how the universe first came about.

How is it represented:

The abundance of copies of ‘A Brief History of Time’, together with the crowd and cameras gives us a scale as to how important Stephen’s discovery has been. As such, we are capable of

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Discoveries may be questioned or challenged when viewed from different

perspectives and their worth may be reassessed over time.

Some discoveries can be challenged for their validity, or because it is inconsistent with the values or beliefs of the other individual. As such, the person who made the discovery may be forced to prove the worth of the discovery, and to assert the legitimacy of it in order to garner the approval of the other person (‘Peter and the Wolf’).

However, in some cases, it can force a divide between them, and exacerbate existing tensions to a point of no return.

John Taylor: I’m afraid–this is complete nonsense. It’s preposterous.

Stephen: Was it something I said? [Later]

Khalatnikov: I came here today expecting to hear a lot of nonsense. I go home disappointed. The little one here, has done it.

In Text:

Stephen’s position as a physicist and mathematician lead him on a pursuit to theorise the origins of the universe. His lifetime dedication to the issue challenges Jane’s religious beliefs and devotion to the Church of England and to God. Their marriage breaks down due to an

accumulation of issues: the pressure of caring for the chronically ill Stephen and their children, the constant challenge of religion against science. The initial discovery of Stephen’s motor neurone disease fades as time goes by, and his obsessive plight for discovering the origin of the universe causes a peak of no return.

How is it represented:

We see John Taylor storming out from Stephen’s point of view, emphatic of Stephen’s

introduction before the scientific community. The low-angle shot portrays Stephen’s position as subject to the approval of the community, and John Taylor’s exit from this low-angle shot delivers an emphasis on his differing perspective. 


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The ramifications of particular discoveries may differ for individuals and their

worlds.

Making certain discoveries can result in drastic implications for those who are making the discovery, and to those around them.

Discoveries can affect the individual both positively and negatively, and as such, the consequences of the discovery may substantially alter the individual and their world. Their lives could improve as a result of the discovery (‘The Princess Diaries’, discovery of royal heritage), or they can be doomed because of it (‘Star Wars: Episode 2’, death of Anakin’s mother).

Bucky Barnes: You’re my mission!

Steve Rogers: Then finish it… ’cause I’m with you to the end of the line.

In Text:

Steve’s initial reaction to the Winter Soldier was to end him permanently so that Hydra cannot continue its plans. However, upon discovering that the Winter Soldier is his childhood friend, Bucky Barnes, whom has been experimented on and completely brainwashed, he chooses not to kill him in hopes that Bucky will rediscover who he was.

How is it represented:

In this scene, Bucky has the upper hand, which is made obvious from the low-angle shot from Steve’s point of view. Although this delivers the sense of Bucky being stronger and more intimidating, the subdued colours of both of their clothing against the background directs our view to their expressions; whilst Bucky deals with his identity with anger and frustration, Steve is passive, drawing the stark contrast of how the discovery of Bucky as the Winter Soldier differs for individuals.

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Making Your Rubric

Hopefully now you will have a better idea as to what HSC Discovery is – it was a bit of an information overload so be sure to read over it again.

As you start to study your Prescribed Text, you will come across the ways in which HSC

Discovery are represented in it. Scrawling in your book might make it look well loved, it doesn’t mean that you’ll retain it for the exam. The best thing you can do is make your own rubric now so you can reference later.

Use the TECHNIQUE – EVIDENCE – EFFECT Method for Your Texts

As you go through your text, be sure to identify anything that the composer has done in order to give meaning to the text.

If you look above, what I’ve done is a bit of that: I’ve referenced camera angles or sound editing (technique), given how it was used (evidence) and analysed how it gave meaning to the scene (analysis).

When you go through your text, this table will become your life saver for when you’re going to do your assessments as exams as you will be able to reference it without even opening your book!

Why is the TEE Table a good idea?

Because the Syllabus requires you to do the following:

In their responses and compositions, students examine, question, and reflect and speculate on:

-

their own experiences of discovery

-

the experience of discovery in and through their engagement with texts

-

assumptions underlying various representations of the concept of discovery

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how the concept of discovery is conveyed through the representations of people,

relationships, societies, places, events and ideas that they encounter in the prescribed text and other related texts of their own choosing

-

how the composer’s choice of language modes, forms, features and structure shapes representations of discovery and discovering

-

the ways in which exploring the concept of discovery may broaden and deepen their understanding of themselves and their world

1. Make sure to include every type of HSC Discovery into the table. 2. When you fill it out the Technique and Evidence, have a keen focus on:


composer’s choice of language modes, forms, features and structure shapes; in the…representations of

people, relationships, societies, places, events and ideas.

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How to Get Full Marks for the Area of Study

Unseen Texts

While it’s straightforward enough to study Discovery and practice writing essays, preparing for the first section of the Area of Study is a little trickier. Knowing how to plan and get full marks for HSC unseen texts and the questions about them, as well as how to actually answer them, can often seem impossible!

However, by figuring out how to break down unseen texts, it’s actually super simple to figure out how to write about them, and get full marks for HSC Unseen Texts! In learning how to analyse these texts, dissect the questions about them and develop awesome, sophisticated answers you’ll be well on your way to full marks in section one of your HSC English paper. So let’s get started on How to Get Full Marks for HSC Unseen Texts!

What is Section One?

The first section of your first English HSC paper (your Area of Study paper) is essentially your ‘unseen texts’ section. The first page will have something like this at the top:

Basically this section provides 3-4 texts that you need to read/view, analyse, then answer

short questions on. The texts are generally all of different types (novel excerpts, visual texts,

poems, etc.) but will be linked to your area of study – in this case, Discovery. This means that even though you haven’t actually seen any of them before, you know what kind of information and themes you should be looking for in them!

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This section makes up 15 marks of your paper and usually has 3-5 questions, each worth a certain amount of marks. The most common mix is to have three 3 mark questions and a 6 mark question, or a 2 mark, two 4 mark and a 5 mark question. While the questions worth less marks are generally pretty easy, it’s these last 5 or 6 mark questions we need to really think about – these are the one this article will mainly focus on.

Throughout the article we’ll be working through an example question from a past paper. Unfortunately it’s still focused on the old Area of Study (belonging) but it’s still very useful to us!

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Step 1: Read the text critically

The first and most important step is to read the text. It seems obvious, but reading the text is more than just looking at the words – you have to read it critically. This means picking up on

things that will be useful in your analysis, but not going into specifics yet.

Things you can pick up on in a first read include; 1. Structure 2. Tone 3. Atmosphere 4. Setting 5. Point of view 6. Character voice 7. Themes

They’re simple enough, but these are the things that give a text its overall ‘feeling’ and will help you in analysing it. By knowing how a text ‘feels’, it’s easier to then pick up on more specific literary and visual techniques.

Example

Our example has a few things that we can pick up on quickly in our first read through that help us figure out the ‘feel’ of the text

The opening sentences are descriptive and involve discussion of senses, creating a strong sense of place and setting in a very familiar location for the narrator. The second paragraph gives a brief introduction to the narrator as a character and gives us someone to match the narrating voice to. Finally, the last sentences are all short, which immediately gives us something to comment on in regards to structure.

Even though these are small things, they gives us a quick idea of how the text ‘feels’ and help us know where to look for techniques in the next step.

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Step 2: Identify visual/literary techniques

As with any text you’re about to analyse, you need to find techniques to comment on – this means annotating! Simply grab a highlighter or different coloured pen and begin to go through the text making note of techniques you could use in your analysis. At this point pick out any and all techniques you can find, but try to avoid any really weak ones.

Spend some time going through out our LITERARY, VISUAL and FILM TECHNIQUE CHEATSHEETS which are included at the end of the Guide!

This will help you to identify the techniques you will come across in the example unseen.

Example

Here we’ve highlighted all of the strong techniques in the text that could be commented on in our analysis.

When annotating it’s a good idea to write what the technique is as well as a very brief

description of how the technique is working or what it’s doing. Have a look at these annotations for our example text to see how it’s done!

-

Personification – indolent meaning lazy or inactive, presents the town as quiet or slow.

-

Simile – creates a sense that the railings are permanent and unmoving.

-

Descriptive language – adds to the sense of the town being slow paced.

-

Sense imagery – description of sense of smell to further reader immersion.

-

Figurative language/metaphor – implies the narrator is fully immersed in their own

world and its sounds, etc.

-

Personification/aural imagery – used to break the tone of peace.

-

First person pronouns – creates personal link between readers and the narrator.

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Step 3: Read the question + break it down

Now we have to look at what we’re actually being asked to do with the text. Some people say to read the questions first, but most students find that it’s easier to answer a question if they go into it already having a few techniques in mind!

Having done that it’s important to break the question down to see exactly when we have to do to answer it. This is just like breaking down any English question, but because these questions are worth fewer marks it usually has fewer components! You’ll also want to look for key English vocab that will clue you in on how to answer the question.

Example

Going through the question and highlighting the key words makes it really easy to pick out just what you need to comment on in your answer! It also tells you what kind of techniques you’re going to want to be analysing in order to answer the question.

Having highlighted key points, let’s break down what each one means:

Analyse – The markers are looking for you to use techniques from the text to break down

what the text is actually saying. The best way to tackle the example is by using the ‘TEE’ method to show how the text represents an overall idea.

Complex relationship – This simply means you’ll be looking at how one thing relates to

another. It seems simple, but remember to refer to both parts of the relationship, otherwise the markers won’t know if you actually understand it!

People and communities – This is our relationship! Just make sure to mention people

and the communities they’re in when you’re doing your analysis of the ‘complex relationship’ and you should be fine!

Portrayed effectively – The ‘portrayed’ part means that we want to be looking at specific

examples from the text, meaning our techniques from before! The ‘effectively’ simply means we want to choose the strongest examples to prove our point/idea about ‘complex relationships’.

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Step 4: Which techniques suit the question?

Using the techniques you highlighted and annotated before, now’s the time to start thinking about which ones would work best to answer the question. This means you want to be looking for the strongest techniques of course, but you also have to consider how you can analyse them for the question.

You’ll want 3 techniques for a 5/6 mark question. Anything less and you won’t have enough to

write about, anything more and you won’t be able to go into enough detail!

Example

Our question focuses on the relationships between people and their communities, so we need to choose techniques that are used to ‘effectively portray’ that. Looking back at the techniques we highlighted, it’s pretty clear which three will work the best for this question.

Now’s a good time to quickly expand on our brief descriptions from before, so that we know exactly how we’re going to relate the technique to the question. This will help when we actually have to write our response.

Personification – indolent meaning lazy or inactive, presents the town as quiet or slow. It

immediately shows readers how the narrator perceives the town/community around them.

Figurative language/metaphor – implies the narrator is fully immersed in their own

world and its sounds, etc. Creates a sense that the community itself is ‘washing over’ the narrator and that they are happy with it.

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Step 5: Answer with STEEL

By now you’ve probably heard of the STEEL format a thousand times, but if not here’s a quick refresher on what the acronym means.

When answering short answer questions you don’t need to be quite as in-depth with your structuring, so generally it’s best to structure your response in a modified STEEL format like below.

Basically you’re repeating the TEE section three times, but only having one statement and link at each end. This allows you to get all the information down in a structured way without wasting time on extra statements or links! Remember, you’re only going for 5/6 marks so you don’t need to go into too much detail.

Example

“The complex relationship between people and their communities is effectively portrayed in text

three through its use of personification, figurative language and first person pronouns. The opening sentence of the text employs personification as it describes the ‘indolent’ town, evoking a notion of the town as a slow-moving, quiet community. The negative connotations of the

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word prompt the audience to wonder what sort of relationship the narrator has with this ‘indolent’ town. This question is furthered when the narrator describes the tolling of the dawn bells, saying ‘They flood over me, drawing me out of myself.’, the figurative language suggesting that the town itself holds sway over the narrator. Audiences are thus made to feel that the narrator is more affected by the town than he lets on, the fact that the bells have such an impact on him implying a more complex relationship. Finally, the use of first person pronouns in the sentence ‘I cannot sleep.’ evokes a sense of the narrator almost being at one with the town, the fact that it is beginning to wake up in the early dawn meaning that he must rise too.

This combination of seemingly contrasting interactions between the narrator and his town are evidence of the fact that people’s relationships with their communities are often complex and contradictory. Though the narrator labels his town ‘indolent’ with heavy negative connotations, he also feels compelled to wake with it each morning, the use of personification, figurative language and personal pronouns thereby working together to show just how complex people’s relationships with their communities may be.”

And there you have it – one awesome response to an unseen text question!

Step 6: Put It Into Practice!

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Study Plans, Techniques & Exam

Skills


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How to Find the Perfect Related Text

You’ve probably heard a whole bunch of different advice about good and bad related texts for HSC English by now including:

1. Don’t pick something popular 2. Always read the book

3. Never go with the obvious.

All of these tips can come in handy, but they don’t really tell you how to find your related text, do they?

That’s why we’ve written this step by step guide to help you ACTUALLY find a kickass related text for HSC English!

By the end of this article you’re going to be the master of an awesome, 3 step formula that can help you choose an awesome related text for any topic. We’ll basically be showing you exactly how to find a whole bunch of texts, then narrow it down to the perfect text for you!

What is a Related Text?

Before we get started with actually choosing our related texts for HSC English, we need a little bit of background information on just what a related text should be. An easy way to think of this is actually in the word related.

If someone is related to you, they probably share a few of your features – maybe your uncle has the same nose, or your cousin’s gap-toothed grin matches yours. But even though there are some similarities, they’re your relative, not your twin, so there are going to be some major difference too.

That means that a related text should essentially be like a relative of your prescribed text – similar in some ways, but not the exact same!

With that in mind, lets get started on our 3 step formula to find you some awesome related texts!

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Step 1: Find the Topic Themes

The first thing you need to consider when choosing a related text for HSC English is how it suits the topic! As mentioned above, you want to look for some similarities to the prescribed text – those are going to be in the themes.

A theme is defined as:

“An idea that recurs in or pervades a piece of art or literature.”

So basically it’s a key idea in a text. There’s usually a whole bunch of themes in any given text, with some being more important (major themes) and others being less so (minor themes). These themes are what you’re going to end up analysing when you write your essays!

The best place to find the themes for any topic of study is actually in the prescribed texts. Some can be obvious, for example a romance novel will have relationships as one of it’s key themes. It’s not always that easy though, so lets look at just how to identify themes in prescribed texts. Over time I’ve found 2 methods that work really well to identify a text’s themes;

-

Moral of the story

-

One word descriptions

The first method is really good at identifying any text’s major themes, while the second can more easily pick up on both major and minor ideas! Let’s check them out.

Method 1: Moral of the Story

What it does: gives you one or two themes that are really strong and central to the text.

Because themes are like underlying messages in texts, it’s easy to think of them as being the morals of a story. This means that they’re the important value the text is trying to teach us. By identifying the moral(s) of a text we’re essentially identifying the key themes as well, making it really easy to figure out what a topic’s major themes are.

Let’s take a look at an example – we’ll use the prescribed text Life of Pi (for Discovery). “The film follows Pi’s journey as he and his family leaves their zoo in India

only to have the boat they’re travelling on sink, leaving Pi adrift on the ocean in a life raft with a tiger. The story shows how Pi overcomes terrible odds to survive, figuring out different ways to get food and water and eventually bonding with the tiger, Richard Parker.”

Even from this brief synopsis we can pull out two big morals of the story;

-

that discovery can lead to survival; and

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Those are extended themes that have been made to suit the topic (see how both relate back to the idea of discovery) but in simple terms they could be considered themes of survival and relationships.

You’re best off applying this method to several different prescribed texts, otherwise you simply won’t have enough themes to use later on.

1. Think about the last prescribed text you studied. Write down the 2 biggest morals in the story.

2. Use your 2 statements of morals, turn them into an extended theme (like we did for the ‘Life of Pi’) for the topic for which your text was prescribed!

Method 2: One Word Descriptions

What it does: gives you a whole lot of themes to work with, though not all of them are central to the text.

This method isn’t as precise as the first, but it is very good at helping you identify a whole range of themes quickly! This gives you lots of idea to work with, which in turn often leads to finding interesting or uncommon themes to explore.

The easiest way to come up with themes using this method is to ask yourself questions about the text and answer with one or two words.

We’ll use Life of Pi as an example again.

Q: What is Life of Pi about? A: Surviving.

Q: What is most important to Pi? A: Family, spirituality.

Q: How does Pi keep going in the hardest times? A: Faith, determination.

Even from these three questions we have five different ideas we can work with;

Surviving Family Spirituality

Faith Determination.

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They could become:

Discovery can mean surviving Discovering the worth of family bonds

Spiritual discoveries Discovering the value of faith Determination leading to discovery

With this method you’ve essentially given yourself a bunch of ideas to work with and get to choose which ones you like best later on. Plus, if you find you need more themes it’s only a matter of asking more questions!

1. Like last time, think of a prescribed text you recently studied – now ask yourself these 3 questions and give single word answers;

a) What is it about?

b) What is most important to the main character? c) What motivates the main character?

2. Expand your single words into themes to suit the topic and there you have it!

Which is better?

To be honest, using both methods together is the best way to go.

Even though it may seem like a little more work, using them both allows you to identify the most major and minor themes possible, which is going to be really important in the long run. Plus, it means you’ll know exactly which themes are central to the story (those from method 1), so you can focus more on those.

So now that we know our key themes for the topic, what do we do next?

Create a List of Your Themes

From the themes we gathered using the methods above, create a list of all the themes related to the topic you’re studying.

Keep this on hand for the rest of the process, as you’ll continue to refer back to it to make sure that the texts you’re looking at suit your area of study.

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If you look at your list and already know a few texts that feature similar themes, that’s great! It means you’ll use the next two steps of the method in different ways – we’ll cover that when we get to it.

1. Using the themes you gathered yourself jot down a quick list of themes and any others that come to mind!

You can use this later, both for this article and your own study.

Step 2: Choose a Text Type

One of the biggest places students let themselves down when it comes to choosing a related text for HSC English is when they don’t consider text types. It may seem unimportant, but making sure that you consider the type of text you choose just as much as you consider it’s context is key to selecting a great related text.

What texts types are there to choose from?


-

Film

-

Novel

-

Short story

-

Poem

-

Play

-

Song (only if you have a musical background)

-

Speech


This list is ordered by popularity, but that doesn’t mean you should avoid the top few types just because they’re common:

-

Novels, films, short stories and poems can all be analysed incredibly well without much assistance from a teacher or tutor, so long as they’re given the right consideration;

-

Plays are usually a little trickier to analyse because of their format (and people don’t like reading them), as are speeches;

-

Songs should only be used if you have a musical background (more on this later).

A first piece of advice: DO NOT choose a movie just because it’s ‘easy’.

Most markers regard the use of films as ‘lazy’ work, especially if they’re Hollywood films!

That’s not to say don’t use films at all! I actually used films for most of my related texts in year 11 and 12 English and went really well – but only because I considered the text type first.

But what exactly does that mean?

There are two questions to ask yourself when choosing a text type:

-

Is it the same as the prescribed text?

-

Can you write about it?

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Is it the same as the prescribed text?

This one is pretty simple.

Whatever text type your prescribed text is, don’t choose a related text of the same type.

So if your prescribed text is a novel choose a film, poem, or something else instead. Likewise, if you’re studying a play in class don’t choose another play for your prescribed text.

It may seem obvious now but a lot of students forget to take this into consideration when choosing their related texts and end up with two of the same type.

Though this isn’t necessarily the end of the world, it’s much better to vary it because it shows markers that you can analyse different text types. Plus it means you get to look at different type-specific techniques and how they’re used to show the same themes.

Also try to mix up related text types between topics/modules. If you’re using a film for Module A, go for a poem in Module B. It’ll help improve the range of types you’re comfortable writing about!

1. Think about the last three prescribed texts you studied in class – what text types were they?

2. Write the types down on a piece of paper for later.

Can you write about it?

Now I know what you’re thinking – ‘What do you mean can I write about it? I’m in my final years of high school, obviously I can!’ – but hear me out.

Writing about a text type isn’t as simple as mentioning that your related text is a poem in your introduction. What it’s actually about is recognising and analysing the type-specific

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What’s a type-specific technique?

These are the techniques that you can only find in certain text types or are used in very specific ways for certain types.

For example camera angles, wide shots, costuming and lighting are techniques you’ll only find in film, whereas soliloquies, stage directions and asides are typically specific to plays.

Basically type-specific techniques are what one text type has that none of the others do – it’s what makes it the type that it is.

A Warning on Using Songs

You have to take special note when it comes to choosing songs, as a lot of students do this and end up getting poor marks. If you choose a song for your related text, you have to have a

musical background. This is purely because the text includes music and therefore you have to analyse the music in order to do well. Too many students only analyse the lyrics and end up being disappointed in their marks, so unless you’re a music whiz as well, avoid using songs!

So why is all this important?

Because for whatever text type you choose you’ll have to make sure to focus on the type-specific techniques, so choose on that you know about. If you really enjoy writing about the different techniques in novels, go for it! If you know your analysis skills are stronger in the film department try that instead.

To help you wrap your head around literary, film and visual techniques, we’ve included

CHEATSHEETS in this Guide! Each technique is accompanied by an example - be sure to check them out!

Play to your strengths where you can and you’ll have a better essay in the end.

1. Copy down the list of text types from before and rank them from 1 to 7: a) 1 = the type you’re most comfortable writing,

b) 7 = the one you don’t want to touch with a six foot stick.

You’ll need this in a minute so do it now!

Making the Choice

Now that you’ve asked yourself what type your prescribed text is and whether you can write about the type you have in mind, it’s time to pin down a text type.

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Follow these steps to pick your text type: 1. List all the text types

2. Immediately cross off whatever type your prescribed text is

3. You can also cross off the ‘Song’ category if you don’t have a musical background 4. Then number your top 3 of text types you’d like to write about – you can use your

numbered list of text types from earlier to figure this out.

5. From there, choose one of your top three and you’re ready to go!

This is what it should look like:

The reason you don’t always necessarily want to go with your number 1 text type is purely because otherwise you’ll probably end up using the same type every time. Remember to mix it up a little!

1. Using your list of past prescribed texts and your text type preferences, create a list like the one above for each of the prescribed texts you wrote down.


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Step 3: Understanding Literary Merit

The reaction I get from students when I mention literary merit is always the same; ‘Literary what?’.

Before we get started let’s clear up just what we’re actually talking about.

Definition:

“Literary merit is the quality shared by all works of fiction that are considered to have

aesthetic value.”

The concept of “literary merit” has been criticised as being necessarily subjective, since

personal taste determines aesthetic value, and has been derided as a “relic of a scholarly elite”.

What that means:

“Literary merit is a quality that is found in texts that are seen as being of ‘proper’ and

meaningful value.”

Many people think this is baloney, because whoever decides what does or doesn’t have literary merit is obviously going to be biased in some ways.

It’s a little tricky to understand, but I used to think about literary merit as being the kind of thing Jane Austen novels and Alfred Hitchcock films have - they have endured through time

and crossed different societies for their values and lessons.

Usually texts that have literary merit are older and have stood the test of time. You know how your teachers sometimes get a far-off look in their eyes and talk about ‘The Classics’? Those have literary merit.

You’re probably wondering why this matters, and I’ll be honest with you – it only matters

because the markers think it matters. The point is that a lot of the people who are going to be

marking your essays think that literary merit is the bees knees, so you’re going to want to choose a text that does have literary merit.

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Literary Merit Cheats

The thing you need to know about literary merit is that it’s what a lot for critics use to judge plays, poems, short stories, films and novels.

That means that the texts that the critics think are amazing are probably going to be the kind that your markers think are awesome too. Obviously, this means the best place to find possible related texts is by looking at what has won the big awards!

Films

-

List of all the films that have won the Oscar for Best Picture.

-

List of all the films that have won the Oscar for Best Original Screenplay.

-

The Time Magazine list of All Time Top 100 Films.

-

If you’re more into independent and foreign film you can also try the Grand Prize winners of the Cannes Film Festival.

Novels

-

The Time Magazine list of All Time Top 100 Novels; or

-

The past recipients of the Man Booker Prize if you’re feeling brave.

Short Stories

It can be harder to figure out which of these have literary merit, but checking out the winners of the Frank Conner International Short Story Award or any other similar awards. If in doubt, Tim Winton’s The Turning is a great collection of short stories many English teachers love to see as related texts.

Poems

These are a little trickier too but you can try this list of Griffin Poetry Prize winners, or this top 30 list of poems.

You can also google something like ‘best poets of all time’ and cheat a little.

If it’s written by T.S. Elliot, Samuel Taylor Coleridge, John Keats, Emily Dickinson, Lord Byron, William Blake, William Wordsworth, Maya Angelou, Sylvia Plath, John Milton,

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Rudyard Kipling, Emily Browning or Alfred Tennyson, you can’t go wrong – except for the fact that some of them are being studied in Extension 1 English (make sure to check!).

Plays

Shakespeare. If you really, really, really don’t want to do Shakespeare you can try

something like this list of the best plays in the last 100 years, but I mean… Shakespeare is right there.

Markers are also super impressed with Australian playwrights – Louis Nowra, Patrick White (one of Elizabeth’s favourite!), Joanna Murray-Smith, Nick Enright, Dorothy Hewett and Ray Sewell are all Australian literary monoliths!

Or you could cheat and refer to this list of the Best Australian Playwrights.

It’s now simply a case of going through these lists and seeing if you can pick out any texts that you like!

Use the text type you chose in Step 2 to figure out what kind of text you’re looking for and your list of themes from Step 1 to figure out which of the texts you find will actually work.

Of course, you may not find exactly the text you want in these lists, but that’s okay! They’re really meant to give you an idea of what literary merit looks like, so if you pick up your copy of Die Hard you can immediately say to yourself “That probably wouldn’t show up on one of those lists. Maybe I need to choose a different related text.”

1. From the text types you chose in step 2 and the themes you jotted down in step one choose a list and look through it to find a related text for ONE of the three past prescribed texts you’ve been working with.

The Formula in Reverse

While the formula as a straightforward process is awesome and can help you discover some amazing related texts for HSC English, it’s not for everyone. So, for those of you who prefer to work with what they know or who already have a text in mind, simply use the formula in reverse!

Step 1: Themes

Do the themes of your related match your prescribed text? Do step 1 as usual, then use the same methods on your potential related text to find its themes. Are they similar? If they are keep moving forward, if not maybe try finding a text better suited to the topic’s themes.

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Step 2: Text Type

This one is easy. Ask yourself these two questions very similar to the ones in the regular steps, just do it with your potential related text in mind.

1. Is your prescribed text the same type as your related? 2. Are you comfortable writing about this related text’s type?

If you answered yes to both of them you’re good to go! If not re-evaluate your text type choice to try to find a better one.

Step 3: Literary Merit

This step is up to you really. First check to see if your chosen text has won any prizes (hopefully not any Golden Raspberry Awards though) and if it has roll with it. If not take a look at the lists of text with literary merit in step three and ask yourself “Could my related text be on this list? Is it like these texts?”. If the answer is yes you’re fine, if not you may want to choose a new one.

1. Have a bit of fun this time!

2. Grab your favourite book or movie and see how awesome or lame it would be as a related text for the topic you’re currently studying in English.

Conclusion

So there you have it – the formula to choosing a great related text!

The main things to remember are: 1. themes

2. type

3. literary merit

Obviously results are going to vary based on your personal preferences, the texts you may or may not already have in mind, what topics you’re studying and the like.

The point is really to give you a framework that will help you at least narrow it down and give you some criteria to make finding a strong related text a little easier.

If you can get these down pat and always take them into consideration when choosing your related texts, you’ll have an awesome outcome every time.

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How to Analyse a Visual Text

Visual texts are generally one of the most confusing and panic-inducing things you can face in the first section of your HSC English exam. Not because they’re actually any harder – in fact, it’s usually quicker to analyse them than written texts – but because you have to analyse them in a different way!

By breaking down the process into three simple steps, you can be writing awesome visual text analyses in no time. All you have to do is figure out what you’re looking at, what you’re looking for and how to structure your answer.

I promise it’s easier than it sounds.

What is a Visual Text?

A ‘visual text’ is usually just a fancy way of saying ‘an image’ when it’s related to English and analysing texts. Basically it means that whatever your analysing is a visual medium – think book covers, picture books, posters or still frames from movies!

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Usually the first section of your HSC English paper will contain at least one visual text, so it’s important to know how to analyse and respond to it. For more information on responding to unseen questions in the first section of the HSC English paper check out this article.

In this article we’ll work through a past paper question based on a visual text – unfortunately it’s focussed on the old Area of Study (Belonging) but the skills we’re teaching remain the same!

Step 1: Identify visual techniques

The first and most important step is to look at the visual text you’re going to be analysing – that’s pretty obvious. Because looking at images takes so much less time than reading a text however, this is also when you should identify your visual techniques. You heard right – start looking for visual techniques right away!

The kind of techniques you’re looking for are things like;


-

Colour

-

Lighting

-

Vectors

-

Costuming

-

Gaze

-

Salience


Spend some time going through out our LITERARY, VISUAL and FILM TECHNIQUE CHEATSHEETS which are included at the end of the Guide!

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The best way to pick these out in a visual text is to look at what your eyes are immediately drawn to and figure out why: Is it because there’s one patch of blue in an orange image? Or maybe one

figure is way bigger than another?

1. Label each of these techniques and then annotate them with a few words about what effect the technique is having. 


For example, if an image is mainly yellow, write something like “Colour – yellow has happy connotations, creates

joyful mood”. It’s that simple!

It seems a little odd to look for techniques before you’ve even looked closely at the question, but this actually helps you in the long run.

By finding a whole bunch of visual techniques right off the bat you’re able to go into your question feeling more prepared, and immediately pick out which techniques will suit the response you plan to write.

If you read the question first you may end up trying to find a specific technique you want to talk about even if it’s not there.

Example: If the question asks about the mood of the image, you may immediately think

to yourself, “Oh, lighting helps create mood, I’ll talk about lighting!”. The problem is that, even though it’s a good technique to use, the visual text you’re looking at may not actually have a good example of that technique! Therefore it’s better to find some strong

techniques and fit them to the question, rather than trying to make the question fit to weaker techniques.

Example

Our example has a few really obvious visual techniques as well as some subtler ones we can pick out.

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