Free Original Practice Exams - 2015

[literally lauren]

~ATARNotes English Practice Exams 2015~

Since the 2014 Practice Exams were pretty widely resented for their difficulty popular, I thought I'd do the same for the class of '15 

Unlike last year, I'll be writing prompts for all texts from day 1, so there's no need to request or nominate your books/Contexts. Each exam will contain 40 prompts (2 per Section A text) 4 Context prompts, and one Language Analysis piece. They'll all be posted here every week; I'll edit them into this first post, and I'll attach a document for those who prefer the proper format.

EXAM 4 HERE ↓

Section A

All About Eve directed by Joseph Mankeiwicz
i “Everybody has a heart – except some people.”
To what extent do the characters in All About Eve understand one another?
OR
ii How does the film show the barriers between men and women in the theatre?


Brooklyn by Colm Toibin
i In Brooklyn there is more to be lost than gained when immigrating. Discuss.
OR
ii Eilis is ultimately unfit for the modern world of Brooklyn. Do you agree?


Burial Rights by Hannah Kent
i Agnes is the victim of others’ prejudice. Do you agree?
OR
ii The real question in Burial Rights is not whether the characters can understand one another, but whether they can understand themselves. Discuss.


Cat's Eye by Margaret Attwood
i The reason Elaine cannot fit in is because she does not truly want to. Discuss.
OR
ii In Cat’s Eye, Atwood suggests that people must create their own futures if they want to have control over their lives. Discuss.


Cloudstreet by Tim Winton
i Many of the characters in Cloudstreet are stuck in a self-destructive cycle of suffering and pain. Do you agree?
OR
ii Winton’s novel shows how the relationships we choose define us more than the relationships we find ourselves in. Discuss.


Henry IV Part 1 by William Shakespeare
i King Henry seems like a much less capable king compared to his son. Do you agree?
OR
ii The characters who succeed in the society of Henry IV Part 1 are those that understand why image is so important. Discuss.



I for Isobel by Amy Witting
i “It could not all be a dream. She felt sure that if she found the poet, she would find the group again.”
Isobel’s obsession with fiction is a way for her to cope with her situation. Discuss.
OR
OR
ii Witting’s novel is about how being alone and feeling lonely are not necessarily the same thing. Discuss.


In the Country of Men by Hisham Matar
i The characters in In the Country of Men are plagued by a sense of guilt and regret. Discuss.
OR
ii Suleiman’s perception of the world is highly distorted. Do you agree?


Mabo directed by Rachel Perkins
i Mabo reveals how certain decisions can shape one’s entire life. Discuss.
OR
ii In the film Mabo, the breakdown of communication is the source of most of the disagreement. Do you agree?


Medea by Euripides
i Medea has no self-control, and is therefore unsympathetic. Discuss.
OR
ii Euripides’ play warns of the dangers of a society that cannot facilitate true justice because of its inherent prejudices and inequality. Discuss.


No Sugar by Jack Davis
i Davis’ play challenges the values of the society that he presents. Do you agree?
OR
ii No Sugar is about the importance of choice, and what happens when choice is taken away from us. Discuss.


Selected Poems by Gwen Harwood
i Discuss the importance of voices in Harwood's Selected Poems.
OR
ii Harwood’s poems are about the commonalities that connect people and generations. Do you agree?


Stasiland by Anna Funder
i Some characters in Stasiland are completely irredeemable. Do you agree?
OR
ii ii.   “We don't catch hold of an idea, rather the idea catches hold of us and enslaves us and whips us into the arena so that we, forced to be gladiators, fight for it.”
To what extent are the characters in Stasiland victims of their own mindsets?



The Complete Maus by Art Speigelman
i Artie and Vladek’s relationship is more detrimental than either of them realise. Do you agree?
OR
ii It is Spiegelman’s use of the graphic novel format that makes The Complete Maus such a harrowing tale. Discuss.


The Thing Around Your Neckby Chimamanda Ngozi Adichie
i No one in The Thing Around Your Neck truly belongs where they are. Discuss.
OR
ii Adichie’s short stories are about the limitations people face when trying to overcome hardship. Do you agree?


The War Poems by Wilfred Owen
i Owen’s poetry shows how survival comes at a cost. Do you agree?
OR
ii How does Owen convey an anti-war sentiment through his poems?


The White Tiger by Aravind Adiga
i The White Tiger is about nostalgia, both on an individual and national level. Do you agree?
OR
ii Adiga’s novel warns of the detrimental effects of an unforgiving and oppressive society. Do you agree?


This Boy's Life by Tobias Wolff
i The society of [/i]This Boy’s Life[/i] isn’t as detrimental as the characters’ own weaknesses and self-perpetuating suffering. Discuss.
OR
ii In Tobias Wolff’s memoir, there is no character who we can rely upon to tell the truth. Do you agree?


Will You Please Be Quiet Please by Raymond Carver
i How do Carver's short stories convey a sense of optimism?
OR
ii Will You Please Be Quiet Please showcases the risks associated with escaping an undesirable world. Discuss.



Wuthering Heights by Emily Bronte
i Wuthering Heights is about how outsiders can never truly belong. Do you agree?
OR
ii To what extent are the characters in Wuthering Heights responsible for their own fates?

Section B

The Imaginative Landscape:
     ‘Our landscapes can often be fragmented or incomplete.’


Whose Reality?:
     ‘It can be challenging to shape our own realities.’


Encountering Conflict:
     ‘Conflict cannot be resolved when people fail to communicate.’


Exploring Issues of Identity and Belonging:
     ‘Belonging can be a source of both strength and weakness.’’

Section C

Background Information:
A local town’s prenatal classes have been organising biweekly meetings for couples expecting their first child. Frequently, they will invite guest speakers to address the group of expectant mothers and fathers as to what they should be doing to prepare for the journey of parenthood.

This week’s speaker was Lucy McKerry, a mother of four and self-published author of various parenting books. Her speech was also accompanied by a slideshow.

Those in attendance were also invited to offer their opinions to the group following McKerry’s speech.

Bubble-wrapped

Good morning everyone. Today, I’m going to tell you something that not a lot of people will. You can’t always pave a straight line of success for your children. They need to be able to draw and define it on their own may be with just a little guidance from you. That might seem somewhat cold or cruel, but in my experience, tough love is more effective than coddling.

I know most of you are new to the realm of parenting, but I’m sure you’ve heard of a ‘helicopter parent’ before? Perhaps you’ve seen one at your local playground, monitoring their child so closely so that the second something goes wrong, they can swoop in and save the day. Or maybe you’ve seen them in shopping centres when they’re shepherding their offspring or holding their hands as they walk through the dangerous outside world. They become the shadow of their children, catching them before they fall or praising them without any actual effort, making them dependent. They are constantly stressed thinking about what all their friends’ kids are achieving, and constantly comparing their children to every other child they know. Things are even harder when the parents get into self-pity and ‘I am not doing enough” mode.

In severe cases, these hoverers advance to become a ‘Blackhawk.’ These parents go beyond the healthy limits of familial concern. They deprive children of crucial decision-making, problem-solving and confidence-building skills they'll need later in life in order to survive. This misplaced love actually acts to the detriment of their child’s development, and no one wants that on their conscience.



Many parents – especially new parents – are prone to overreacting. And that’s okay! It’s normal to feel an intense connection for your child, and an extreme sense of worry at the thought of something happening to them. The problem with our generation of parents is that we believe today whatever our child is doing or not doing is solely because of what we have done or have not been able to do. But this is not entirely true; we have just been scared into that state of mind. We are scared that if we don’t act, then we could spend the rest of our lives regretting it. We are scared that if our child isn’t 100% happy 100% of the time, then we must have failed somehow. We are scared because our brains panic and automatically imagine the worst possible scenario, but these fears are ultimately unfounded.

What a lot of people don’t realise is that you can end up unintentionally pushing these anxieties on to your children. Do you want them to experience that same crippling concern for their own safety? Do you want them to be rendered unable to function because of how much they fear the world? Do you want them to be so utterly dependent on you that they will never learn independence of self-sufficiency? Of course you don’t. 

Every scraped knee and bruised elbow teaches your child something valuable. Every emotional blip helps him learn coping mechanisms. Do not fight their fight. Let them make their mistakes. Let them push and being pushed sometime. As long as you are not calling the shots, they are learning to be better socially, and without those experiences, they will never have access to that knowledge.



How often do we see parents helping kids tie their shoe laces because it is easier and faster, giving them cues for puzzles when they are stuck, or dressing them up even before they try? We will all, at some point, try to hold hands of our kids while climbing up the stairs or crossing the street even though they’ll no longer need it. And that is the point where we need to accept the scariest challenge of parenthood – the necessity to let go. And if you continue to coddle and helicopter over them, you are no longer protecting them – you’re overprotecting them. And although the former can let them know that you care about their safety and that they need to take care of themselves, the latter makes them incapable of learning such valuable lessons.

So as you make those first steps and venture out into a world of pride and joy, don’t let your worries get the better of you or your child. The struggle is part of the journey, and it is the journey that makes you all stronger. As your child grows older and more mature, they will become more aware of potential dangers and how to respond to them. As your child’s independent activity levels increase, your parents’ safety concerns decrease. Not only will this make them more prepared to handle the world, but it also leads to a happier, healthier environment for the whole family.

In the end, we’re all just trying to do what we believe is best. But I urge you all to consider your own approach to parenthood, and don’t go down the path of anxious vigilance. Don’t fall into that trap of disadvantaging your child by making their life too easy.

Thank you.

---
I can understand why overbearing parents can be a pain in the neck, but that’s hardly a worst case scenario. Far more damage occurs as a result of a lack of parental contact. When mothers and fathers leave for work and abandon their kid in the care of some nanny or nursery, they’re missing out on the most critical stages in their development. Of course spending every waking moment with your child is taking it a bit too far, but surely we also have to be careful to avoid the extremes at either end. Too much of anything is a bad thing, and children will become spoiled when we substitute ‘presents’ for ‘presence.’ Surely proactive parenting is better than neglectful parenting, right?

-   A response from Laci, an expectant mother in the audience.

EXAM 3 HERE ↓

Section A

All About Eve directed by Joseph Mankeiwicz
i All About Eve is an exploration of what happens when desires aren't satisfied. Discuss.
OR
ii In All About Eve, there are many different ways for a relationship to fracture. Do you agree?


Brooklyn by Colm Toibin
i Eilis' family and friends have more of a detrimental effect on her life than they intend to. Do you agree?
OR
ii At its core, Brooklyn is about the importance of an optimistic outlook for the future. Discuss.


Burial Rights by Hannah Kent
i How does Burial Rights show the importance of stories and storytelling?
OR
ii The characters in Burial Rights are victims of their circumstances. Do you agree?


Cat's Eye by Margaret Attwood
i "You are forced to understand their reasons for doing things and then you are weakened."
Where do Elaine's power and weaknesses come from in Cat's Eye?
OR
ii “Potential has a shelf life"
To what extent does Atwood celebrate potential and possibility?


Cloudstreet by Tim Winton
i "Keep the day ahead of you, that's what the old man used to say."
The characters in Cloudstreet must look to the future if they want to achieve contentment. Do you agree?
OR
ii In Cloudstreet, it is the quotidian events that define the characters. Discuss.


Henry IV Part 1 by William Shakespeare
i "I would to God, thou and I knew where a commodity of good names were to be bought.”
To what extent do the characters’ reputations in Henry IV Part 1 define them?
OR
ii "Sir John stands to his word, the devil shall have his bargain; for he was never yet a breaker of proverbs: he will give the devil his due.”
Hal is not the only character who keeps his promise and accomplishes what he sets out to do. Do you agree?



I for Isobel by Amy Witting
i Isobel tries, and fails, to set up effective emotional barriers. Discuss.
OR
ii The characters in I for Isobel are victims of either extreme love, or extreme hate. To what extent do you agree?


In the Country of Men by Hisham Matar
i "Can you become a man without becoming your father?"
How does Matar's novel show the importance of self-determination?
OR
ii "Nationalism is as thin as a thread, perhaps that's why many feel it must be anxiously guarded."
In the Country of Men depicts a world tormented by fear and suspicion. Discuss.


Mabo directed by Rachel Perkins
i The characters in Mabo are more heroes than victims. Discuss.
OR
ii In Mabo, Perkins suggests that achieving justice is more difficult than it seems. Do you agree?


Medea by Euripides
i There are many sources of Medea's pain in this play. Discuss.
OR
ii Medea shows that being emotional is just as dangerous as being logical. Discuss.


No Sugar by Jack Davis
i The characters in No Sugar wish to change their circumstances, but are ultimately unable to do so. To what extent do you agree?
OR
ii The society in this play is oppressive in many ways. Discuss.


Selected Poems by Gwen Harwood
i Harwood's poems are made all the more confronting by their realism and honesty. Discuss.
OR
ii Gwen Harwood celebrates the potential of women whilst simultaneously lamenting their role in society. Discuss.


Stasiland by Anna Funder
i Anna Funder’s beliefs undergo significant changes over the course of this text. To what extent do you agree?
OR
ii “You have to look at how normal people manage with such things in their pasts.”
In Stasiland, Funder shows that simply coping is a victory in itself. Do you agree?


The Complete Maus by Art Speigelman
i “No, darling! To die it's easy... But you have to struggle for life!”
The most significant war the characters in The Complete Maus face is the one that is inside themselves. Discuss.
OR
ii To what extent does the graphic format of The Complete Maus inform our interpretation of the characters and their actions?Discuss.


The Thing Around Your Neckby Chimamanda Ngozi Adichie
i "It is not good or bad, I tell her, it is simply mine. And that is what matters.”
Adichie’s short stories are ultimately uplifting, even if they may not seem that way on the surface.
OR
ii The Thing Around Your Neck is a predominately optimistic examination of Nigerian identity.


The War Poems by Wilfred Owen
i Owen suggests that the worst part of the war stems from the fact that it was unexpected. Discuss.
OR
ii To what extent are the speakers in Owen’s poems involved in the horrors around them?


The White Tiger by Aravind Adiga
i “If only a man could spit his past out so easily.”
The characters in The White Tiger are constantly grappling with the past as well as the present. Discuss.
OR
ii Adiga's novel is about the way injustice affects people. Discuss.


This Boy's Life by Tobias Wolff
i "Being realistic made me feel bitter. It was a new feeling, and one I didn't like, but I saw no way out."
Does Jack have any control over his life?
OR
ii Tobias Wolff's memoir is both honest, and detached. Do you agree? Discuss.


Will You Please Be Quiet Please by Raymond Carver
i Carver’s short stories are united by the characters' shared emotions and desires. Discuss.
OR
ii How does Carver show the importance of independence in his short stories?


Wuthering Heights by Emily Bronte
i "Honest people don't hide their deeds."
None of the characters in Wuthering Heights are completely honest. Discuss.Discuss.
OR
ii Bronte's novel shows the dangers of investing too much trust in other people. Do you agree?

Section B

The Imaginative Landscape:
     ‘We decide which connections to landscapes will have the most meaning for us.’


Whose Reality?:
     ‘Sometimes imposing our realities on others' is justifiable.’


Encountering Conflict:
     ‘Confrontation with the unfamiliar will always lead to conflict.’


Exploring Issues of Identity and Belonging:
     ‘We will always struggle to belong to what we don't understand.’

Section C

Background Information:
The local neighbourhood committee in North Valley recently voted to enforce a district-wide no-tolerance policy for littering.

An editorial responding to this decision was printed in the district’s newsletter to be distributed amongst North Valley residents. The newsletter has also published a variety of views from other community members about their reactions to the proposal.

Litter Bugs Are Trash!

This generation has no respect for their environment. How do I know, you may ask? Well I only have to look out my front window and observe the abundance of rubbish lying in the streets, clogging up drains, and making a mockery of what was once a lovely place to live.

Nowadays, I can’t even walk down to my local butcher’s without cigarette butts sticking to my shoes or plastic bags flying in my face. And sure enough, these offending pieces of waste are coming from none other than some rag-tag bunch of youths chain-smoking or binge-drinking in the supermarket car park. These individuals are not misguided; they are as scummy and nugatory as the rubbish they’re dropping so carelessly.

Are people aware of the harm they are doing to our town, our community? Are people aware that their actions have consequences? Are people aware that every time they litter, they’re making our lives just a little bit worse?

And are people aware that someone else has to clean their mess up? I’m reminded of my four year old nephew, who’s also quite averse to picking up after himself. I could follow his trail from one end of the house to the other – a river of toy dinosaurs and plastic cars – while my brother tiredly reminds him that he needs to put things in the proper place when he’s finished with them. And he will learn, eventually. He’s already becoming more considerate and self-aware, since he knows not to take his toys into the kitchen when his father is preparing meals, or into his mother’s office when she’s working. So how is it that this four year old has a better sense of right from wrong, and of social responsibility than a vast majority of our citizens?

Truthfully, I believe this is a problem of selfishness. There are people in this town who are so wrapped up in their own lives and how they appear to their friends that contemplating too far into the future by asking questions like ‘where this litter will end up?’ or ‘whose job is it to pick this stuff up’ is just beyond them. And the sad thing is we can’t just wait for them to grow up like we can with toddlers. These people need to be taught a lesson, and there’s only one effective way of doing that.

If these litterbugs are made to literally pay the price of the damages they’re causing, then perhaps they’ll think twice next time they’re about to toss a cigarette butt out of a car window, or just drop a food wrapper next to a bin instead of inside it. I don’t like that it’s come to this, but the council’s decision to impose a realistic method of deterring people is exactly what we need right now.

And maybe this’ll make our lives just a little bit better.

COMMENTS:
How utterly preposterous! Imagine walking home one day, completely exhausted with your mind on other things, and you let a candy bar wrapper slip from your hand, or a tissue is blown out of your pocket. Suddenly you’re $375 poorer, all because of some silly little accident. You think the litter police are going to listen to your explanation though? You think they’ll listen to reason?

I’m making barely above minimum wage, and I for one don’t want to forfeit the equivalent of a week’s worth of groceries for me and my family, just to appease some bureaucratic dunce on the council board that thinks taxing everything is the solution to every problem. This is completely unrealistic.
-   Paulette Morris

How on earth is this going to be enforced? Will there be guards on street corners, scanning the gutters for any stray bits of rubbish? Or maybe they should hire a few hundred forensic biologists to examine the rubbish and trace the fingerprints or skin cells on it in order to find the culprit. No, wait – I have a better idea! How about we just put cameras everywhere! On the streets, in shops and offices, in your home… I mean, they have to do something with all the revenue they’re collecting with this tax. Why not have a 24/7 government service that’s just there to make sure you’re on your best behaviour? What could possibly go wrong!?
-   Max Lawson

Surely there’s a better solution here – what if the community was to get together once a fortnight and have a collective Clean-Up Day? It’d teach the younger kids to have more respect for their surroundings, but it’d also help the older ones realise just how much of their litter ends up scattered about the place. Reforming people’s mindsets would be more effective than simply wringing everyone’s wallets dry.
-   Julie Sanders

EXAM 2 HERE ↓

Section A

All About Eve directed by Joseph Mankeiwicz
i “Bill's thirty-two. He looks thirty-two. He looked it five years ago, he'll look it twenty years from now.”
The characters in All About Eve show that the intent behind deception is what matters. Discuss.
OR
ii How do the concerns of Hollywood and the theatre mirror the characters’ concerns in the film?


Brooklyn by Colm Toibin
i Brooklyn is a novel about sacrifice. Discuss.
OR
ii “Some people are nice and if you talk to them properly, they can be even nicer.” The language of the characters in Brooklyn reveal their true feelings. Do you agree?


Burial Rights by Hannah Kent
i “They said that I stole the breath from men, and now they must steal mine.”
The world of Burial Rights is plagued by a false sense of justice. Do you agree?
OR
ii To what extent is Agnes a powerful character in Kent’s novel?


Cat's Eye by Margaret Attwood
i How does Atwood use Elaine’s artwork to convey a sense of guilt and preoccupation with the past?
OR
ii “It would almost be better if they could be as surly as I am, or surlier; this would make me feel more ordinary.”
Part of Elaine’s identity crisis stems from the fact that she is so dissimilar from those around her. Do you agree?


Cloudstreet by Tim Winton
i “Luck doesn’t change, love. It moves.”
The characters in Cloudstreet are luckier than they realise. Discuss.
OR
ii Winton’s novel challenges what it means to belong to a family. Do you agree?


Henry IV Part 1 by William Shakespeare
i How does Henry IV Part 1 show the importance of planning and foresight?
OR
ii In this play, the ability to control language is the most crucial factor in the characters’ successes. Do you agree?


I for Isobel by Amy Witting
i Fiction is the most important thing in Isobel’s life. Do you agree?
OR
ii “Isobel caught the look and stored it away, as she did everything that reached her from the world outside.”
In I for Isobel, Witting suggests that observation can be a powerful tool. Discuss.


In the Country of Men by Hisham Matar
i Matar’s novel shows that there are many different forms of betrayal. Discuss.
OR
ii How does In the Country of Men create a sense of darkness and loss?


Mabo directed by Rachel Perkins
i Discuss the significance of the environments in Perkins’ Mabo.
OR
ii “Everything here is yours. This is who you are.”
The true conflict in Mabo is about where one’s sense of self comes from. Discuss.


Medea by Euripides
i Medea reveals how exile and deprivation can have extremely negative consequences. Discuss.
OR
ii “Of all creatures that can feel and think, we women are the worst treated things alive”
Medea garners sympathy from both the characters in the play, and from the audience. Do you agree?


No Sugar by Jack Davis
i “The native must be helped in spite of himself”
The condescension and trivialising that occurs in this play is the main source of tension. Discuss
OR
ii Jimmy Munday’s bitterness over his inequality makes him an unlikeable character. Do you agree?


Selected Poems by Gwen Harwood
i Although Harwood’s poems offer interesting insights, it is her subject matter which makes her work relatable. Do you agree?
OR
ii “Not seen, not heard, in childhood’s earshot
Of the women on the back veranda,
we knew about atrocities.”
Harwood’s poetry revels in the power of wisdom and understanding. Discuss.


Stasiland by Anna Funder
i How does Funder illustrate the value of small victories amidst suffering?
OR
ii In Stasiland, Funder depicts a place that has been changed by claustrophobia and oppression. Discuss


The Complete Maus by Art Speigelman
i Discuss the significance of perspective in Spiegelman’s The Complete Maus.
OR
ii Spiegelman’s graphic novel shows how dehumanisation can occur in many forms. Discuss.


The Thing Around Your Neckby Chimamanda Ngozi Adichie
i Discuss the importance of perspective in Adichie’s short stories.
OR
ii The Thing Around Your Neck is a predominately optimistic examination of Nigerian identity.


The War Poems by Wilfred Owen
i “O what made fatuous sunbeams toil
To break earth's sleep at all?”
Owen’s poetry is concerned with the causes of war just as much as the consequences of it. Discuss.
OR
ii How do Owen’s poems portray and convey a sense of guilt?


The White Tiger by Aravind Adiga
i Adiga’s novel reveals how self-interest can be just as harmful as corruption. Discuss.
OR
ii How does The White Tiger suggest that education is important, but potentially dangerous?


This Boy's Life by Tobias Wolff
i How does Wolff distance himself from the actions of his former self, Jack?
OR
ii This Boy’s Life suggests that a fractured family can still offer some solace from a confusing world. Discuss.


Will You Please Be Quiet Please by Raymond Carver
i Carver’s short stories are about the enduring effects of memories. Discuss.
OR
ii No one in Will You Please Be Quiet Please understands the situation they are in. Do you agree?


Wuthering Heights by Emily Bronte
i Wuthering Heights shows that true danger comes from misunderstanding dysfunctional relationships. Discuss.
OR
ii Bronte’s novel is a scathing critique of the commodification of love. Do you agree?

Section B

The Imaginative Landscape:
     ‘Changes in our inner landscapes are rarely of our own volition.’


Whose Reality?:
     ‘It can be difficult to discern illusions when they develop slowly.’


Encountering Conflict:
     ‘No one is impervious to conflict.’


Exploring Issues of Identity and Belonging:
     ‘It is always better to reject identities that are imposed on us.’

Section C

Background Information:
The electorate of Lenwell had a by-election two days ago which saw the removal of the previous leader, Tim Crofts, and the instalment of a new representative from an opposition party, Caroline Merton. Crofts had been caught in a corruption scandal, but Merton’s party only won the election by a slim majority of 53-47

Following her election, Merton gave her inaugural address to the community at the Lenwell City Hall.

The transcript of her speech is recorded below.

A fresh start for all!

Let me start by saying: welcome! Welcome to this Hall, welcome to a new government, and welcome to a newer, better Lenwell for all!

Welcome, and thank you. Thank you for being a part of this hugely democratic exercise. And thank you for making the right choice.

These last few months have been tough times for our town, and for too long people have had to withstand the embarrassment and shame of having a leader who lied, and cheated, and stole. For too long people have been disinterested in politics because the perception of it had been corrupted… For too long, we have not been a proud and content town, but I for one think that we deserve to be. The tenure of my predecessor has cast a dark shadow on this position, but my duty to you is to rectify that. This election result is the change you’ve been waiting for, and it’s time to rebuld ourselves now that all that bitterness is over.

Right now, we are like the victims of a debilitating physical condition who have just been cured. We’re making our first tentative steps down the long road of recovery, but we will get there. Our spirits are strong.

And I have you to thank for this new opportunity. You were the ones who took matters into your hands, voicing your discontent until you got the chance to exercise your democratic rights. That action told me, and thousands of other politicians around the country, that cheaters never prosper. People who lie, get caught, and when that happens, the strength of the majority voice will be there to kick them out of office and into the gutter where they deserve to be. You stared your captor right in the face and said ‘No. We’ve had enough of this, and you have no power over us anymore.’

So to  every one  of you who supported this campaign, who went doorknocking on weekends, who volunteered on voting day, I want you to know that I am proud to be representing your victory today. And this is your victory.

I know not all of you will be pleased with this outcome. This was a close-call, after all. But for those of you who did not vote for a change of leadership, I will work my heart out in order to show you why today has been such a positive turning point for us all. Unlike my predecessor, I do not want to create a culture of suspicion and mistrust. I do not want to cause a rift in this community by lying about my true intentions or making decisions for the benefit of the few. I will govern in a way that is fitting to the responsibility that you have given me. I will govern in a way that means my gratitude and respect for you will never diminish or waver.

The future is going to look a lot brighter, and this will take some getting used to. For too long we have been angry and bitter, so this path to change will be very unfamiliar at first. But this is for the greater good of our healing; we must push through all the uncertainty and trust that we have done the right thing.

There will be questions, I know, in the aftermath of this skirmish. For weeks people will debate over the dinner table about their take on the current situation, and about what they think should happen. Newspaper columnists will watch my every move, comparing and contrasting me with my predecessor. People from our own electorate as well as elsewhere in the country are watching us, expectantly, and I intend to meet their high expectations to the best of my ability. In fact, I welcome this questioning and debate. The days of a high-and-mighty leader divorced from the reality of his people are over, and I do not wish to travel down the path of deceit and suspicion that he went down. This is the era of honesty and transparency for our community. Honesty and transparency.

You see this chart? This was from a survey conducted three weeks before the election, and quite frankly, these results are disgraceful. When half the population do not believe a word you’re saying, you’ve clearly done something wrong. It’s critical that we turn this around now, and we have the chance to show this country that respect between politicians and their electorate is a two way street – you can’t have one without the other. In a few short months, I hope to have reversed these trends of distrust.

This community is going to become a beacon of hope for towns across the state. People will look on with wonder and envy at how we could’ve come so far so quickly. Together, we will foster a sense of integrity by fulfilling our promises and trusting others to do the same. When I tell you that I will make this electorate a better place, it’s because I know it’s something we’re capable of achieving. Gone are the days of empty promises; the age of forward thinking and smart planning is here!

I am so excited to put these plans in motion. All across our electorate, you are going to see things change for the better. This election has been a watershed moment, and since this result has set the foundation for the future, it’s now time to start building!

Thank you.

EXAM 1 HERE ↓

Section A

All About Eve directed by Joseph Mankeiwicz
i The lack of trust between the characters in All About Eve makes them hard to sympathise with. Do you agree?
OR
ii Mankeiwicz's film shows how destructive superficiality can be. Discuss.


Brooklyn by Colm Toibin
i Eilis makes an effort to belong in Brooklyn more than in Enniscorthy. Discuss.
OR
ii In Brooklyn, family plays an important role in shaping the characters' lives. Do you agree?


Burial Rights by Hannah Kent
i Discuss the importance of memory in Burial Rights.
OR
ii ""To know what a person has done, and to know who a person is, are very different things."
To what extent does the novel suggest that people's identities are more than just their actions?


Cat's Eye by Margaret Attwood
i In Cat's Eye, the characters are defined more so by their past than their present. Do you agree?
OR
ii "I peer hard, trying to see which one she is, behind the disguise of the costume. But I can't tell."
None of the characters in Atwood's novel are wholly what they seem. Discuss.


Cloudstreet by Tim Winton
i How does Winton create a sense of comfort and familiarity in Cloudstreet?
OR
ii ii.   “Life was something you didn't argue with, because when it came down to it, whether you barracked for God or nothing at all, life was all there was. And death.”
Winton’s Cloudstreet is about understanding and accepting mortality. Discuss.


Henry IV Part 1 by William Shakespeare
i Hal's relationship with Falstaff is solely an exploitative one. Discuss.
OR
ii Henry IV Part 1 is a play of symmetries. Discuss.


I for Isobel by Amy Witting
i The other characters in the text give us greater insight into Isobel than she herself does. Discuss.
OR
ii "How she wished to know where she went wrong."
Witting's novel shows the benefits of making mistakes in life. Do you agree?


In the Country of Men by Hisham Matar
i "Grief loves the hollow; all it wants is to hear its own echo."
Discuss the role of suffering and anguish in In the Country of Men.
OR
ii The suppression that the characters in Matar's novel face can never be truly overcome. Do you agree?


Mabo directed by Rachel Perkins
i The loyalty of the characters in Perkins' film is their strongest attribute. Discuss.
OR
ii Mabo reveals that intolerance cannot sustain itself when righteousness and tenacity are present. Do you agree?


Medea by Euripides
i Jason's capacity for evil stems more from weakness than from strength. Do you agree?
OR
ii No character in Medea gets what they deserve. Do you agree?


No Sugar by Jack Davis
i Mutual respect and tolerance is an impossibility in No Sugar Do you agree?
OR
ii In this play, Davis suggests that rebellion against an unjust system is justified. Discuss.


Selected Poems by Gwen Harwood
i Discuss the significance of violence and brutality in Harwood's poems.
OR
ii Harwood's poetry explores what happens when reason clashes with emotion. To what extent do you agree?


Stasiland by Anna Funder
i “This sleight of history must rank as one of the most extraordinary innocence manoevers of the century.”
The question of accountability in Funder’s narrative is one that plagues many of the characters. Discuss.
OR
ii Stasiland shows how the hardest battles occur inside oneself. Do you agree?


The Complete Maus by Art Speigelman
i “You should know it’s impossible to argue with your father.”
Vladek’s stubbornness is actually a coping mechanism, even if it strains his relationships with others. Discuss.
OR
ii The Complete Maus reveals the fragility of both individuals and their connections to one another. Do you agree?


The Thing Around Your Neckby Chimamanda Ngozi Adichie
i “It is not good or bad, I tell her, it is simply mine. And that is what matters.”
The sympathetic characters in Adichie’s short stories are the ones simply trying to make do with what they have. Discuss.
OR
ii Adichie's text is about the struggles of surmounting cultural barriers. Discuss.


The War Poems by Wilfred Owen
i Owen's poetry shows that war is not the worst thing a man can endure. Do you agree?
OR
ii “I, too, saw God through mud –
The mud that cracked on cheeks when wretches smiled.”
Discuss the significance of the speaker in The War Poems.


The White Tiger by Aravind Adiga
i “This is the only 140-square-foot space in Bangalore with its own chandelier!”
In what way is Balram’s wealth symbolic of his control over others?
OR
ii “Oh you young people and your modern ideas.”
The White Tiger depicts a clash between old and new values. Discuss.


This Boy's Life by Tobias Wolff
i “Whatever it is that makes closeness possible between two people also puts them in the way of hard feelings if that closeness ends.”
The deterioration and loss of relationships in Wolff’s memoir have profound effects on the characters. Do you agree?
OR
ii In This Boy's Life, Jack has no realistic goals. Do you agree?

Will You Please Be Quiet Please by Raymond Carver
i The characters' inadequacies in Will You Please Be Quiet Please fuel their disillusionment. Discuss.
OR
ii Carver's short stories depict the futility of hope. Do you agree?


Wuthering Heights by Emily Bronte
i Catherine has more power in death than she did in life. Do you agree?
OR
ii ii.   “I really thought him not vindictive - I was deceived, completely, as you will hear.”
Wuthering Heights showcases the inherent dangers of unchecked emotions. Discuss.

Section B

The Imaginative Landscape:
     ‘We can never have complete control over our internal landscapes.’


Whose Reality?:
     'The realities of others can have more influence on us than we realise.’


Encountering Conflict:
     'Encountering conflict forces us to prioritise what is practical over what we value.’


Exploring Issues of Identity and Belonging:
     'We cannot forge our own identity; we must discover it.’

Section C

Background Information:

Mike Thirlwell was a digital editor for several popular reality television shows on prime time networks until he recently left the profession. After this, he began writing a blog entitled ‘Button Pushing’ about his experiences.

The following is the first post from his blog, as well as an accompanying comment from one of Thirlwell’s readers which was also published on the site.

Button Pushing

I’m sitting on a bus. Around me are the regular bus folk; old ladies sitting patiently, some young lads messing about with the driver, and a couple of middle aged women behind me. “Did you hear?” one of them says, with a conspiratorial wink, “that Jenna got voted off last night?” “Oh of course; I told you she was a goner ever since she made Dave break up with Kylie.” “Don’t you just feel so sorry for people like that?” “God no – that little hellcat got what she deserved.” Giggles. Gossip. Banal, brainless conversations. These people talk of reality show contestants as though they too are real. But they’re not. They’re just constructs. I should know. I made them.

From 9 to 5, every week day for twelve years, I sat in a dingy office editing the footage of various so-called “reality” shows in an attempt to cobble together some semblance of a storyline to make the material as palatable as possible. I honed my skills as someone who could create conflict out of nothing; if my producer needed a hate-figure for the sake of this week’s ratings, I’d make a five minute package of the most unglamorous aspects of someone’s personality and tie it all up in a delightfully artificial bow.

And now, people on buses all over the country trade “clever” observations about the toils of my labour. It’s hardly their fault that they fall victim to these sinister tricks of the trade, but it’s frustrating nonetheless to see scores of people lose their inhibitions by chortling at cheesy sound effects, or literally crying over spilled milk.

I often think back to my younger days when I was just starting out in the industry. I was doing some low-skill level editing work for a dating show in the early 2000s, and upon realising that there was way too much footage for me to feasibly summarise all of the material in a realistic way, I consulted with one of my superiors about what I should do. He laughed in my face. “Realistic!?” he snorted, “why on earth would I want you to give me realistic stuff? The people don’t want realism; they want goodies and baddies, black and white, right and wrong. So make it happen.”



And I did. For over a decade, I sculpted people’s behaviours, words, and sometimes even lives for the sake of what was “watchable.” Over time, the industry morphed into a sickening pit of buzzwords like “sharable,” “viral,” and “bait” as though we were concocting some kind of contagious pathogen. Not only did I have to watch my colleagues get sucked into this horrendous void, but I was also forced to confront the realisation that they were right. Time after time, our most watched episodes would be the ones with that elusive “shock factor,” but as we kept pushing the limit, we found the regular tactics wouldn’t cut it. Ten years ago, watching someone bawl their eyes out after being told their ambitions were foolish would’ve made headlines for its shock value; nowadays, it’s just stock filler on every second episode. My fall-back technique of creating the subtle hint of tension through just the right facial expression coupled with just the right soundbite – both taken completely out of context, of course – was no longer sufficient. People wanted fights. People wanted love triangles. People wanted fully-fledged mental breakdowns.

And I’m ashamed to say I gave them what they wanted. But I had to get out of that soul-crushing world before I too became a dullard with no semblance of human decency.

You see, people think themselves wise when it comes to the tricks and tropes of the television landscape, but they have no idea just how artificial the final product can be. So when I hear women on the bus talk about how much they hate “Jenna,” all I can think of is some poor schmuck like me, cramped over some cheap editing software in an office cubicle who wants them to hate Jenna. Because that’s what sells. So if you want mind-numbing, derivative content that’s sure to appeal to whatever base desires need satisfying, look no further than your very own TV. But there lies a world outside this bleak facsimile of reality, and all you have to do is press a different button.



COMMENTS:

Rather than getting on your high horse about how unrealistic reality shows are, how about providing us with some actual examples of these “derivative” things? I’m quite the connoisseur of evening television, and I’d consider myself capable of looking beyond the glossy artifice to the genuine personalities that shine through your cheap editing tricks.

I reckon your God complex has gotten in the way of your understanding; you’re underestimating us if you think we aren’t aware of the difference between TV and real life. Plus, it’s not as though your attitudes are indicative of everyone in the business. I’ve even had a few friends sign up for various reality shows, and they all had a great time. None of them felt misrepresented, or that the end result was a massive departure from what really happened. It’s all just a bit of fun, and if you really think it’s all some evil conspiracy to subdue the masses to the point where we’re all being brainwashed by our screens… well, I just feel sorry for you.

-   Username: Mary Burke

I'd also recommend using these for timed practices as well, hence why they'll all be released at approximately 9:00am to get you in the habit of writing at the same time of day as the exam. Downloading the document is probably better for this (especially if you can get a family member or friend to print it off for you,) since you'll experience the process of dealing with unseen material and refining the way you approach the actual exam.

And yes, to anyone who remembers my proclivity for evil from last year, these will be difficult exams! This is because I believe it's more important to test yourself and prepare for the worst right now, than it would be to give you something easy to boost your confidence. Rest assured, if you find these prompts or articles difficult - that's by design. I'm deliberately making these challenging, but realistic. When VCAA write exams, they're not thinking about how fair it'll be for every student. They look at the overall paper and say 'that seems about even.' But some Contexts have an easier time than others (eg. Id&b prompt in 2013 was a cakewalk, but Conflict was awful; IL 2014 was so easy it wasn't funny, whereas WR was somewhat difficult.) And that's not even considering how varied the Text Response prompts could be. VCAA have run the gamut from 'This text is about major theme' to 'How does the author establish the importance of time and place in the text?' so it's anyone's guess what they're prepared to throw at you.

The idea is not to prepare for every possible eventuality beforehand, but to give you the skillset you need to handle these eventualities, so if you can attempt the kinds of prompts and material in these exams, you should be set for whatever your exam will consist of,

Like last year, this thread will be open to anyone who wants to post a practice piece for this material, or if you just want to ask questions and bounce ideas around regarding a certain prompt. I'll drop by and give feedback when I can, but the people who are providing help to others will probably get first priority, so I'd highly encourage some discussion and essay swaps. I might even post a sample L.A. piece of my own, or an annotated version of one of these exams if people would find that helpful.

They'll be up every Saturday, (so the 3rd, 10th, 17th, and 24th) before the exam

Happy studying 

[heids]

Is this some evil plot to boost your respect to 500 600?

I know we already have four stickies, but... can't resist stickying this.

(you can unsticky if inappropriate anyway lol)

[literally lauren]

More like my evil plan to thoroughly mess with VCAA's bell curves by having the whole cohort of AN score ridiculously well on the end of year exam 

All good; I'll unsticky it after exams and do some spring cleaning on the resource threads.
Hopefully this'll get bumped often enough with people posting essays anyway *hint hint*

[Alter]

"I had a class in a law building once. Don’t mess with me."

Classic.

Hopefully this'll get bumped often enough with people posting essays anyway *hint hint*

I might post a Stasiland essay sometime next week, but I should probably do my holiday homework first... Maybe.

[avocadochick]

This is so great! Thanks heaps for posting these!!

Would you be able to have a look my Mabo essay? (prompt i))

[literally lauren]

Exam 2 is up! Can't attach files for some reason; later I'll try and post the full version somehow, but for now the prompts and material is all in the first post.

edit: it's okay guys, me and the attachment talked it through, and it acquiesced to my demands

[scottg15]

Here is an essay on the MABO environments prompt.
Any feedback is welcomed.

Spoiler

Discuss the significance of environments in Perkins' Mabo

In the film Mabo, director Rachel Perkins uses many varying environments to expose different beliefs and opposition. Most notable, it the use of the Murray island, which alongside the household environment provides undivided support to Koiki. On the other hand, scenes of Townsville and other populated places are used by Perkins to depict the white community and the extreme opposition to the legal case, which is signified through the formal clothing and environments.

At the outset of the film, Perkins uses an establishing shot of the Murray Island, depicting the significance of this environment both physically and culturally. Through this shot, the viewer is presented with and island of notable size, portraying its significance which is to be later explored in the film. Furthermore, in the opening scenes of the film, Perkins demonstrates the cultural significance of the island. With the diegetic sounds of indigenous music, and the full views of their cultural dance, Perkins exposes the cultural heritage of this land. This culture and physical importance is further emphasised when Benny Mabo warns Koiki; ‘They go to the mainland and they forget everything.’ This statement is then used by Perkins as the basis for Koiki’s legal fight, and throughout this conflict, the viewer witnesses the significance of the Murray Island. Through flashbacks of Koiki and Benny fishing, and scenes of vegetation and seas juxtaposed against the tension of the legal case, Perkins explores Koiki’s value that he places on his culture and the strength he is able to derive from it.

In contrast, however, Perkins displays the racist white community through populated environments such as Townsville. Throughout the film, Koiki is confronted with extreme racism and discrimination. From the initial scenes where Koki is interviewed by the protector Killoran, the viewer is presented with a society that seeks to do him harm and to utilise him as a ‘slave’. Similarly, when Koiki is sent off to the mainland and arrives in Townsville, he experiences extreme racial profiling. In the scenes inside the pub, where Koiki is refused a drink, Perkins is able to portray to her viewers the community’s biasness against the black. In the same way, using a close up shot of the cinema door handle, and the conversation between the reporter and a young girl, the viewer is depicted the extreme profiling and discrimination that was evident in the Australia of that day. These scenes of populated places, and encounters with the general people, are used by Perkins to demonstrate the significance of the racist white community.

Perkins also uses the family environment to symbolise the strength and support of individuals and the black community. Juxtaposed against the discrimination at the pub, Koiki’s first meal with Bonita in her home gives an insight into the strong family relationships, and the support that Bonita will be in Koiki’s fight for justice. This support is highlighted when Bonita is found ‘packin’ stinkin’ prawns’ to ensure there is enough money and food for the family. Scenes such as this are used by Perkins to highlight to her viewers the strength and support within the family environment and the black community. Perkins also depicts Koiki’s support, through the full shot of Eddie teaching the story of the Malo octopus. This scene, along with demonstrating the cultural significance, demonstrates to the viewers the interest and care that Koiki takes in his family. However, in the closing scenes, Koiki’s words ‘I never knew how hard it was for you to grow ‘em up’, demonstrates not only the strengths and support Bonita had to the family, but Koiki’s determination to rectify the wrongs for the ‘other black fella’s’ and his wider black community.

Lastly, Perkins uses the scenes of the courtroom and encounters with the lawyers to indicate to her viewers the legal fight Koiki was in for his people and the Island of Mer. Through the initial scenes of Eddie as the gardener, and Brian Keon-Cohen, the viewer witness the begging of the long and hard road to justice. Similarly, Perkins uses real life black and white footage of Koiki and Netta protesting, showing the significance of his fight against the state. Furthermore, Perkin uses the clothes of her characters, to again signify the legal case, but in addition the transformation of Koiki as he overcomes both the state and the injustice, In the initial scenes, the viewer is presented with a Koiki who in a ripped singlet, and dirty sweat, has been working on the railway tracks. However, in using the formal environment of the High Court in the Background, the viewer sees a transformed Koiki in the neatly pressed grey suit, similar to that of his lawyers. These scenes, and clothing, are used by Perkins to symbolise and signify the extensive legal fight and the conflict against the state.

Overall, throughout the film Mabo, Perkins uses a range of different environments to signify to her viewer’s different characteristics, cultures, and support. Through formal clothing and courtrooms, Perkins depict Koiki’s legal fight, however his support and source of support is portrayed through scenes of the family and his home land; Murray Island. However, in contrast, Perkins uses the scenes of pubs and the town people to demonstrate Koiki’s opposition and the racist white Australia.

Thanks in advance.

[SwagG]

Hey thanks for the multiple exams Lauren. Attempted the language analysis from Exam 1 today. Here is my response.

Spoiler

Section C Language Analysis

The contentious issue of how real is reality television has been raised often in recent times following the vast catalogue of shows that are being produced. In response to this Mike Thirwell, writer of the blog post “ Pushing Buttons”, feels enthused to let readers know , especially those who watch such programs that there is far greater manipulation and deception that occurs where the viewers cannot see. Thirwell adopts a concerned tone in regards to the viewers, claiming that they have “fall[en] victim” to the attack on their innocence by TV production companies. In addition to this, Thirwell insightfully remarks in a remorseful tone that it wasn’t his intention to make a fool out of the viewers of reality television. In direct response, though in stark contrast, is Mary Burkes comment on the blog post, where she contends that Thirwell’s descriptions of the world of reality television are misled and strictly bias.

Thirwell intends to alert readers to reconsider their predisposition to approach reality television in a one dimensional manner and form what they think are original “theories”. The title of the blog post “Button Pushing” not only indicates how we can simply push a button to change our reality yet further alludes reader to consider how reality ‘TV’ is manipulating our emotional response. Thirwell begins by recounting his experience on a bus, attacking the readers by heralding their conversations as “brainless”. Through the public location of a bus, Thirwell is potentially attempting to indicate that this mass deception is occurring all-around of us and cannot simply be confined to the “bus”. Following on, by describing his material for a story line as “palatable” it connotes such stories to be desired, questioning the moral integrity of readers and why they only want “goodies and baddies”. This in turn raises the notion that we humans are too weak to accept our own reality, hence we need a fake, twisted reality to distract ourselves from the real world.

Thirwell adopts a hostile attitude towards the creators of such reality television, by describing his past office as “dingy” “cubicle” where he used “cheap editing software” to persuade the masses to believe his fictitious world. This leads readers to potentially forgive Thirwell for his past actions as he feels “ashamed” yet draws a negative and critical light on production companies, attempting to fathom hate and repudiation towards them. These emotions are carried forward by the use of language such as “technique”, “bait” and “stock filler”. Such language is seemingly aimed at readers to view such creators of reality television as tacticians, leaving readers to contemplate an idea; that when we play a “TV” show, are we playing it, or is it playing us, juxtaposing the idea of tactics to a game, where the game is to win “this weeks ratings”. This concept of being played is further supported through Thirwell’s placement of the cartoon. Through the image, Thirwell emancipates the idea that we are “unplugged” from reality, drawn in by the constructs the television presents. By depicting the men with their heads stick in the ‘TV’, it indicates that we are no longer in control of our emotions and what we perceive. Taking a step back, the ‘TV’ and on a larger scale the media in general dictate our emotions by altering our perception of reality. Lastly the man on the left can be seen epitomised as the creators of reality television, who can be seen laughing at viewers, as their emotional response may seem to them as natural, yet was preconceived and planned.

Mary Burke directly reproaches the statements made by Thirwell, by bitterly attacking what Burkes describes as Thirwell’s “God Complex”. Through announcing herself as a “connoisseur of evening television”, it instils to readers that she deeply understand the conception of such television. The use of words such as “glossy artifice” and “cheap” pertain to readers that not all viewers of such television are ignorant and understand that it is “just a bit of fun”. In addition to this she directly attacks Thirwell’s claims of the “soul crushing world” that is reality television, by using the views of her friends as support. This denigrates Thirwell’s authorial position and urges readers to take Thirwell’s opinions with a grain of salt.

Mike Thirwell’s quite personal and intimate blog post shares with his audience that the world of television and the creation of reality shows is one that is heavily manipulated as he himself played a part in it. With the support of his condescending cartoon his insight into reality shows is further pushed to be accepted by readers. Contrarily, Mark Burke dismisses Thirwell’s views by drawing attention to the idea that viewers are not “brain-washed”, leaving readers to consider Thirwell’s opinions in a more critical manner.

Thank You in advance.

Also if anyone has King Henry essays or Whose reality context essays they would like me to read over and help out with, give me a shout

[cosine]

Essay on Medea for exam 1 - Any feedback from anyone is greatly appreciated.

Cheers

[literally lauren]

Feedback attached for you four^

Please let me know if you need clarification - I tend to bandy around terms like 'quote integration' and 'verb transitivity' under the assumption that people can work it out if they don't know what I mean, but feel free to post here if there's anything you don't get, or you'd like an example of what I talk about in the comments

cosine, for some reason my comment formatting screwed up for your Medea essay and they shift to the right a bit; I have no idea why - apologies for my technological ineptitude :p

Also forgive my constant food metaphors of sandwiches and cakes in the Mabo essays. I'm really hungry.

            ~
ALSO also, just cause I'm in a grammarian mood, I thought I'd explain some stuff about subordinate clauses based on the L.A. piece below, since it's something I've seen almost everyone struggle with at some point.

This is a really common issue, so you’ll forgive me if this is long-winded, but sentence structure isn't well taught until you get to a tertiary level, in my experience, so if you don't have natural (or native-speaker) intuitions, it can be tricky to grasp this stuff until it's laid out:

Sample sentence:

By depicting the men with their heads stuck in a TVs, it indicates that we are no longer in control of our emotions and what we perceive.

Perfectly reasonable tidbit of analysis; the meaning is not impaired, and you know exactly what this sentence is trying to say. However, it's a bit ungrammatical.

When you start of a sentence with ‘By depicting something,’ it’s implied that you’re talking about the author because he’s the one doing the depicting. The other thing about these ‘By doing X’ or ‘Through Y’ statements is that they’re subordinate clauses (name not important) which for our purposes means that they can be moved around in a sentence.

Eg. The author suggests the sky is blue by using a rhetorical question
--> By using a rhetorical question, the author suggest the sky is blue.
All good, right? But let's try it with the sentence above:
By depicting the men with their heads stuck in a TV, it indicates  that we are no longer in control of our emotions and what we perceive.
--> It indicates that we are no longer in control of our emotions and what we perceive by depicting the men with their heads stuck in a TV. ()

Now things sound kinda wonky - who or what is this 'it' at the start? This guy?

Possibly...

It's actually closer to what's called an 'empty 'it' ' as in the phrase 'it's raining.' There's no clear subject, because you're not saying the weather is raining, or that the outdoors is raining, but that meaning is still conveyed.

An easy fix is to switch the clauses in your sentence and check the grammaticality. If you end up with something that doesn't sound right, it probably means the original version isn't too crash hot either. Hopefullly your natural intuitions will take over then, and you'll know how to fix the problem so it sounds right to you. If not, you may need to revisit some syntax and rules of sentences so you can internalise those rules before the exam.

Happy to help with any of that because I'm totally procrastinating from a mildly difficult uni syntax assignment right now :p

[avocadochick]

Thanks Lauren for the feedback- it's super helpful

I'm pretty new to the whole idea of talking about the director and their message in a text response essay as this hasn't really been mentioned in my class  I went to a lecture last week where an assessor mentioned this and I realised why I wasn't improving in text response throughout the year...

So, would a better 'zooming out' sentence for body paragraph 3 be something like: "Therefore, Perkins displays that within a relationship, it is important and necessary for individual loyalties to differ so that they can compliment each other." Does that work/make sense?

[SwagG]

Hey Lauren, thank you very much for the detailed feed back. Your analysis of the second image was something I was considering doing but it was done in one hour and I felt it would only a sentence worth of analysis to the piece, but your analysis is far deeper and better then the sentence I was thinking of (turn off tv, move away  )  . In regards to your sentence structure so do you suggest using the authors name (Thirwell) instead of it?

Thank you, and I shall do your text response and context as those are my  weaker areas and get back to you 

[literally lauren]

Thanks Lauren for the feedback- it's super helpful

I'm pretty new to the whole idea of talking about the director and their message in a text response essay as this hasn't really been mentioned in my class  I went to a lecture last week where an assessor mentioned this and I realised why I wasn't improving in text response throughout the year...

So, would a better 'zooming out' sentence for body paragraph 3 be something like: "Therefore, Perkins displays that within a relationship, it is important and necessary for individual loyalties to differ so that they can compliment each other." Does that work/make sense?

Perfect! This is exactly what you want to do: link the content that you've been discussing to the broader point that Perkins is trying to make, whilst being careful not to make things too specific to the example (eg. Perkins suggests that Koiki is a good person -- too zoomed in) and not being to broad or vague with your assertions (eg. Perkins suggests that justice is complicated -- to zoomed out.) That sentence you wrote strikes that perfect middle ground.

Just be careful with your word choice since 'display' doesn't quite work here. A verb like suggest/imply/indicate would be better suited to that kind of sentence. But other than that, it seems like you've adjusted to the concept of making V&V/big picture links really easily, meaning you should be fine to do this in the exam

Hey Lauren, thank you very much for the detailed feed back. Your analysis of the second image was something I was considering doing but it was done in one hour and I felt it would only a sentence worth of analysis to the piece, but your analysis is far deeper and better then the sentence I was thinking of (turn off tv, move away  )  . In regards to your sentence structure so do you suggest using the authors name (Thirwell) instead of it?

You don't have to cover every point of analysis you come across, but it can be good to force yourself to say at least one thing about every text - written and visual. The same would happen if you got one main piece, multiple visuals, AND multiple comments (#foreshadowingExam3) - do your best to analyse each, even if you only have a minor point, or are using one comment to contrast to another. The main piece is obviously your priority, but some assessors like to see a broad coverage, and mentioning each text is a good way of playing to their expectations of what makes a high-scoring piece.

Re: sentence structure, yes, using the author's name gets around this problem neatly, but so long as you understand why the phrasing doesn't work in that context, you should find it easy to avoid in future.

[scottg15]

I think the best thing about AN, is the instant feedback and the level of feedback that you give.

Really helpful literally lauren!!!

Would you be able to give a /10 score for this. Sorry, I just cant tell, and I'm worried that my teacher may have learnt how I write and therefore can read into what I'm trying to say, rather than what I have actually written. Just needing a more of an assessors type of score.

[cosine]

Exam 2 Medea essay attached.
Thank you lauren for volunteering to mark our essays, believe it or not but it motivates me to keep writing because at least someone is willing to mark them, or let alone read them. My teacher, who's name is also lauren but completely opposite to this lauren is useless and hence I really appreciate your help.

Many thanks