ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
ESH310 AT2: Unit Design
Name: Connie Valentine
SID: 110759
Word Count: 1999
Unit Focus:
Year Level: 5
Key Texts: Film, Hoodwinked (dir. Corey Edwards)
Part 1: Introduction
Children literature offers imaginative amusement, brings to life ideas of self, others and world through vicarious events (Lukens, 2006). Literature study builds experiences through character perspective and dilemmas (Barone, 2010). This literature unit study examines fairy tale [FT] genre, particularly literary features of ideology, theme and point of view examined through Hoodwinked directed by Corey Edwards (2005), a fractured animated version of Little Red Riding Hood [LRRH]. Film helps students develop the ability to differentiate FT genre from other literature categories notably having
‘similar functions and ideas’ (Sate of New South Wales, Department of Education [SNSWDE], 2015, p.
13).
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design Lesson two, derived from outcome ACELT1608 (ACARA, 2015), allows students to question the cultural context of Brothers Grimm Little Red Cap [LRC]; identifying traditional ideological messages of recurring gender portrayals of females and males throughout history. It is imperative students are aware of conveyed gender roles, beliefs and norms as they are influential on children’s Commented [TBL1]: Excellent views of identity (Lieberman, 1972). Showing examples of role changes means girls learning to emulate characteristics of problem solving and independence (Wolf, 2003). Hoodwinked’s interpretation of gender demonstrates a reversal message of assertive feminist protagonists and sensitive men.
Taken from outcome ACELT1795 (ACARA, 2015), lessons five and seven focus on representation of theme. Students respond to implied messages, lessons and morals analysing FT genre elements. Hoodwinked’s theme of misunderstanding; more than one side to a story, highlights our human nature to speculate about others therefore providing text to self and world connections (Lukens,
2006). The idea and moral suggests people make speculations of others’ thinking and emotions based on judgement of appearance. Children also realise not everyone will identify with the author’s messages in the same way based on their own life experiences (Gamble, 2013). Commented [TBL2]: Good stuff!
Lesson six and seven, drawn from outcome ACELT1610 (ACARA, 2015), engage pupils in point of view concept; viewing events through many eyes, that empathy, indifference and affiliation for characters is constructed in what is depicted to responders via authors shaping a story’s narration
(SNSWDE, 2015). Film’s multimodal language is an effective device to enhance children’s ability to comprehend complexities of written text notably fairy tales (Walker, 2006). Detailed lesson seven, focuses on interpreting film language ‘metalanguage’ of visual, aural, textual and technical codes working together to deliver an engaging experience for the audience (Walker, 2006). These film Commented [TBL3]: Good – and good use of secondary literature throughout devices help highlight mood through character first person perspective, leaving the viewer to deliberate reliability of narrator and what is omitted (SNSWDE, 2015). Hoodwinked’s visuals offer students
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design opportunity to observe how FT genre elements are interwoven together, not relying solely on written form for meaning (Barry, 2005).
Lesson eight, with focus outcomes ACELT1798 and ACELT1612 (ACARA, 2015), consolidates students learning so they ‘can learn to think in a visual cinematic ways about the content of their writing’ (Barry, 2005, p. 67). Through Gradual release of responsibility (Department of Commented [TBL4]: Lovely
Education, Tasmania, 2016) pupils synthesise their knowledge and transfer thinking of FT genre elements to compose own versions of a fractured tale, storyboard and animation.
Part 2a: Lesson sequence
Lesson 1 Outcomes Lesson (ACELT1608) Focus: ‘Fairy tale’ [FT] genre Before: Identify key elements of genre/handout glossary (vocabulary/meaning). o Characters o Plot o Setting o Narrative structure o Motif o Language o Themes o Ideologies o Watch: Fairy Tales (College Direct Online, 2015) https://www.youtube.com/watch?v=Xyfen4xLx3g Discussion: students give examples for common elements from personal experiences/prior knowledge. During: o Read: Brothers Grimm version Little Red Cap [LRC]. Think/write/share: grid chart worksheet (Appendix A) complete FT common elements highlighted in narrative. After: o Watch Hoodwinked. Observe/make comparisons to common FT elements of Little Red Cap with film’s features (worksheet).
Lesson 2 Outcomes Lesson ACELT1608 Focus: Genre Ideology Before:
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
✓ Explain term/subliminal messages/recurring/gender norms. ✓ Cultural stereotypes. o Groups allocated two sets of cards: identify (appearance/behaviour/action verbs)/match FT characters with gender stereotype. Commented [TBL5]: Good During: o Reread LRC. o Think-pair-share: Students identify gender stereotypes protagonist/antagonists characters represent. Highlight words/images/sentences. o What evidence in Hoodwinked challenges traditional FT gender roles? Compare versions using adjectives in T graph to describe characters. After: o Individuals write character synopsis recreating a traditional FT character traditional gender stereotype. o Modern beliefs/values. o Develop a complex, dynamic disposition. o Plan how character appears/speak/plan on chart (Appendix B).
Lesson 3 Outcomes Lesson (ACELT1609) Focus: Motifs Before: o Define/discuss FT recurring motif’s across cultures and symbolism. o Handout: anchor chart/archetype character list (Appendix C & D). During: Commented [TBL6]: Lovely! o Model with students, charting LRRH motifs. o Carousel brainstorming: groups provided separate FT to read/identify/list motifs/classify archetype characters/record on butcher’s paper. Groups pass on paper, adding additional ideas/class share results. After: o Independently, create Venn diagram. Compare Hoodwinked’s similar/different motifs to one example from previous activity. o Write a page movie review of Hoodwinked. o Specify four common motifs/archetypes examples. o Give a score rating/reasoning for effectiveness. o Where have you observed these symbols before?
Lesson 4 Outcomes Lesson
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
(ACELT1795) Focus: Narrative structure Before: Define: o Story components: beginning/(introduce)/middle (complication)/ending (resolution). o Plot elements: exposition/rising action/climax/falling action/resolution. o Plot enhancement of conflict/mood/feelings in films (sounds). o Model plot components events/elements/ using LRC storyboard pictures/plot diagram. During: o Think/write/share: Define components of Hoodwinked placing events into sequential order. Create plot diagram/observe line’s shape. After: o What moments during Hoodwinked were sounds used to create atmosphere/enhance characters/events? o Students observe/listen Kirk’s perspective from 32.14-37.12 minutes listing diegetic/non diegetic sounds. o Groups write/compose/preform a soundscape in Soundcloud, depict one scene; using assortment of instrument/items.
Lesson 5 Outcomes Lesson (ACELT1795) Focus: Theme Before: Define: theme/ideas/implied message/moral. o Discuss: way we view world/varied meanings/everyone different. o Students recall common FT themes they already know. During: o Read aloud: Chinese LRRH variation Lon PoPo (Young, Commented [TBL7]: Good! 1989). o Together create T-graph demonstrating identified theme/supporting details.
o What does Hoodwinked mean? (Deception by tricking). o What message is it the film conveying? o What did the characters learn? o Groups prove theme by brainstorming/organizing ideas, record mind map/share with class. After: Students write a letter from character Hoodwinked to another FT person. Stating theme/lesson/moral learnt, identifying four ideas to support message. Commented [TBL8]: Good ☺
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
Lesson 6 Outcomes Lesson (ACELT1610) Focus: Point of view [POV] Before reading: o Introduce POV (1st/ 3rd person)/affects story/reliability of narrator. o Students arranged into groups, explore POV conflict (seeing same event through numerous eyes) through roleplay with provided scenario. During reading: o Teacher reads aloud The True Story of the 3 Little Pigs! Commented [TBL9]: I really like the way you have used other (Jon Scieszka, 1996). texts across the unit. Model/think aloud noting: o Version’s comparisons/contrasts (protagonist-villain- antagonist/reversed). o Question reliability/authentic of narrator. o Draw attention to 1st person. o Students assemble into literature circles groups examine/discuss POV. After reading: o Hot seating: student groups develop/elaborate their protagonist’s POV/motivation/bias through questioning and dramatic characterizations. Commented [TBL10]: Excellent -
Lesson 8 Outcomes Lesson (ACELT1798) Focus: Tell a tale! (ACELT1612) Before: o Introduce assignment: students rewrite a chosen FT into a modernised fractured version (script), creating 2D animation using Storybird and storyboard of annotated three stills (Appendix F). o Hand out assessment sheet/rubric. Explain learning outcomes, peer assessment activity, self-evaluation/teacher assessment sections. During: o Recap FT elements (lessons 1-7). o Model genre considerations and how to research using resources provided to inform planning/writing. What am I looking for? Where to look? After: o Groups of 4 (maximum)/assemble/dispense planning templates/commence. o Whip around: groups share with peers outline of their tale/considerations/research. o Continue completion of animation.
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
Part 2b: Assessment Plan
This literature unit employs numerous formative ‘assessment for learning’ strategies to monitor learner’s progress and understanding (Dunn, 2011). An example lesson four’s soundscape task; teacher will informally take anecdotal notes to ascertain student’s contribution towards decision-making, observing comprehension of plot elements and mood through instrumental enhancement choices alike a
Foley artist. In conjunction, feedback as an ongoing process within lessons is given to students; guiding opportunities to improve learning success (Marsh, 2008). Likewise, discussions in whole-class, group, think-pair-share activities and student-initiated questions monitor conceptual understanding (Redfern,
2015). Lessons two to seven’s work pieces: graphic organisers, role-play and written tasks are evident of development towards Australian Curriculum outcomes (Savage, 2014).
Summative assessment concludes an instructional period of learning. Educators make judgements based on student’s achievement in attaining goals against standards (Marsh, 2008). In lesson eight, a climactic? assessment project comprises of multi-domain group tasks of creative writing, storyboard and 2-dimensional animation. Students apply specific distinguished elements of fairy tale genre to tasks demonstrating culminated knowledge (Dunn, 2011). The A rubric establishes will establish? set criteria guidelines for students to follow to gauge measurement of attainment towards year five achievement Commented [TBL11]: Good! benchmarks (Redfren, 2015).
Part 3a: Detailed lesson
Lesson 8: Representation of theme Outcome: Students will evaluate theme through visual metalanguage demonstrating point of view Commented [TBL12]: Excellent! experiences in a storyline evoke a response of audience (ACELT1610) (ACELT1795), (ACELT1609).
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
Before Explain lesson’s purpose/aim. Reading Define: film language • Devices to engage audience.
• Depicts a point of view (POV). • Evokes feelings/emotions/empathy/relationships with viewer. • Sets mood/tone.
During Stimulate student’s prior knowledge on concepts of theme, ideology and POV. Reading: Teacher will: Modelling • Introduce/illustrate new metalanguage concepts/vocabulary students will use. • View posters/short clips: • Gaze (demand/offer) (Designed by Teachers, 2015) http://designedbyteachers.com.au/marketplace/elements-of-visual-literacy- gaze-modality-background/ • Basic camera shots (social distance) (1.00 minute), Camera angles (power/involvement) (2.39mins) (Screenonline, 2014). http://www.screenonline.org.uk/education/teachingwithfilm/filmtechniques.ht ml • Colour representations list ( NSW, Department of Education, 2002). Commented [TBL13]: Good – appropriate number of concepts if handled well.
Screenshots exhibited Interactive White Board [IWB]/handouts. Good resourcing – your explicit teaching is quite clear. During Teacher facilitates discussion; builds on from knowledge of POV theme, ideology reading and motifs. Commented [TBL14]: Good work here. Great probing questions. deconstructio n Re-watch Red’s/Wolf’s version of events in woods, deliberate:
Identify Film language: (3b 1/2/3) ✓ In what ways (inferred) has Red depicted Wolf/vice versa? ✓ What camera angles and distance are used? ✓ What do you notice about the gaze? ✓ Who has power and why? ✓ Why do we view from over Red’s/Wolf’s shoulders? ✓ How does colour make you feel? ✓ What is the intention of using these certain techniques?
Motif: Good versus evil (3b 1/2/3/4) ✓ How is this depicted by Red?
Theme: things are not always what they seem (3b7/8) Through flash backs its evident there is more going than what is depicted.
✓ Before considering the truth, why should you hear all points of view?
Omissions/POV: (3B 1/3/4/5/6) ✓ What has been purposely omitted in POV? Where are there misunderstanding? ✓ What film techniques have achieved this? ✓ How does a POV influence the viewer’s perception? ✓ Is Red’s point of view reliable?
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
✓ Stereotypes: (3b 6/5) ✓ Looking at Red’s first phone call to granny how did you stereotype Granny? Who else was stereotyped? How/why?
After Collaboratively Reading: • Answer the question/short summary. (joint and/or • Is there more than one side to every story? independent • Do you think cinematic devices enhanced the theme/were effective? construction) • Theme: misunderstanding: more than one side to every story/speculation means appearances can be deceiving. Moral is don’t judge a book by its cover (depiction/trickery/stereotyping).
Independently: students create: ✓ POV depiction of chosen antagonist/villain/reversed perspective. ✓ Portrayed within three, storyboard frames ✓ Represents a theme. ✓ Uses camera angles/social distance/gaze/colour.
Part 3b: Analysis
Text/Image Literary / Relevance Visual Technique 1)
Eye level Eye level angle portrays intimate angle relationship between characters, Mid-close up encouraging audience shot/point of participation, aligning with Red, view [POV] arousing feelings of fear/distrust shot mood through over the shoulder Demand POV. Mid-close shot ‘close personal 2) distance’ emphasizes Wolf’s eyes ‘demanding’ emotional response of audience/mistrust. Commented [TBL15]: Excellent level of detail! Low angle Colour
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design Offer Low angle conveys tallness/power position of Wolf (misunderstanding) and Red submission/vulnerability. Wolf’s ‘offer’ aligns viewers as observer from Red’s shoulder POV. She depicts black/browns 3) engulfing Wolf (evil versus good/motif) herself with sunlight (white/yellow/happiness).
Colour Wolf’s frames himself in green symbolic of faithful character opposed to evil. Later, in sunlight/ blue skies (truth/trust/peace). Commented [TBL16]: Very nice analysis
4) Medium-close Medium-close distance shot shot/POV omits details, portraying Red’s Commented [TBL17]: Excellent! point of view demonstrating everyone views are different/not what they seem (theme). Reds sees/experiences Wolf wishing to see contents of basket/frightening/scaring her by growling (stereotyping/villain/misundersta nding).
Wolf’s perspective medium- shot’ Twitchy has wound his tail Medium-shots into the camera, making him
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design 5) scream/omission/misunderstandi ng/theme.
Close up Close-up omits visual details. Red depicts/stereotypes granny (watching television/knitting/elderly). Granny’s poles are mistaken for knitting needles interpreted by movement/dialogue (misunderstanding appearances/deception/theme). Commented [TBL18]: Lovely work!
6) Dialogue/narr Implied theme/more too what ator/opening character are seeing. scene
Final scene/dialogue Theme/idea/POV tells personal 7) “Red Riding Hood, you probably truth. Commented [TBL19]: Excellent.
know the story”. A very thorough piece of analysis (this whole section)
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design “But there's more to every tale than meets the eye”.
“It's just like they always say, you can't judge a book by its cover”.
“If you want to know the truth, you've gotta flip through the pages”.
“If a tree falls in the forest, you'll get three stories,
- yours, mine and the tree's”
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design References
Australian, Curriculum, Assessment and Reporting Authority. (2015, December). The Australian
Curriculum: F-10 English (Version 8.1), all curriculum elements, all curriculum dimensions.
Retrieved from www.australiancurriculum.edu.au/english/curriculum/f-10?layout=1
Barone, D (2010). Children's Literature in the Classroom. Retrieved from http://www.eblib.com
Barry, B. (2005). How can film and television texts impact on students' writing? Screen Education,
(40), 66-68.
College Direct Online. (2015, December 20). Fairy tales [Video file]. Retrieved from
https://www.youtube.com/watch?v=Xyfen4xLx3g
Department of Education, Tasmania. (2016). Good teaching: literacy 3-6. Retrieved from
https://criticalapproachestoenglish.files.wordpress.com/2015/03/doe20tas_good-teaching-3-6-
literacy.pdf
Designed by Teachers. (2015). Elements of Visual Literacy: Gaze, Modality & Background. Retrieved
from http://designedbyteachers.com.au/marketplace/elements-of-visual-literacy-gaze-modality-
background/
Dunn, D. (2011). How to be an Outstanding Primary School Teacher. Retrieved from
http://www.eblib.com
Edwards, C. (2005). Hoodwinked [Motion picture]. United States of America. Weinstein Company.
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design Gamble, N. (2013). Exploring children’s literature: reading with pleasure and purpose (3rd ed.).
London: SAGE Publication Ltd.
Lieberman, M. R. (1972). 'Some Day My Prince Will Come': Female Acculturation through the Fairy
Tale. College English, (3). 383-395.
Lukens, R. J. (2006). A critical handbook of children's literature. Boston, MT: Pearson/A and B.
Marsh, C. J. (2008). Becoming a teacher: knowledge, skills and issues. Frenchs Forest, N.S.W.: Pearson
Education.
NSW Department of Education and Communities. (2002). An introduction to the grammar of visual
design. Retrieved August 13, 2016 from
www.curriculumsupport.education.nsw.gov.au/secondary/english/assets/pdf/grammar.pdf
Redfern, A. (2015). The Essential Guide to Classroom Practice: 200+ strategies for outstanding
teaching and learning. Retrieved from http://www.eblib.com
Savage, J. (2014). Lesson Planning: Key concepts and skills for teachers. Retrieved from
http://www.eblib.com
Scieszka, J. (1996). The true story of the three little pigs! New York, New York:Penguin Group.
Screenonline. (2014). Teaching with Film: Film Techniques. [Video file]. Retrieved from
http://www.screenonline.org.uk/education/teachingwithfilm/filmtechniques.html
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
State of New South Wales, Department of Education [SNSWDE]. (2015). Textual concepts and
processes descriptions. Retrieved from
http://englishtextualconcepts.nsw.edu.au/sites/default/files/concept_and_process_descriptions.pd
f
Walker, F. (2006). Primary workshop ideas for media literacy. Screen Education, (44), 84-88.
Wolf, S. 2003). Interpreting Literature With Children. Taylor and Francis. Retrieved from
http://www.ebrary.com
Young, E. (1989). Lon Po Po: a Red-Riding Hood story from China. New York: Philomel Books.
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
Appendix A
Grid Chart Worksheet Comparing Little Red Cap and Hoodwinked
Literacy Features Little Red Cap Hoodwinked Character
Plot
Setting
Narrative structure Motifs
Language
Themes
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
Appendix B
Character Stereotype Planning Sheet
Appearance Movement Speech
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
Appendix C
Example Anchor Chart
The Classroom Key. (2014, December, 23). The classroom key: making sense (and fun!) of teaching: Why teach fairy tales? Retrieved from http://www.theclassroomkey.com/2014/12/why-teach-fairy- tales.html
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
Appendix D
Example of Archetype Character chart
Film Education. (2009). Coraline: study notes. Retrieved from http://www.filmeducation.org/pdf/film/Coraline.pdf
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design Criterion 1: Provide an introduction to your unit of work which is anchored in theory about the nature of narrative and the features of your selected genre (25%) HD DN CR PP NN You: You: You: You: You: Briefly explained the key concepts and outcomes for the unit, and what you want student to learn, and what evidence you Only covered some of the will collect to determine that learning essential elements. Provided a specific and Provided a comprehensive Provided an accurate Provided a basic theoretical Provided a minimal precise theoretical theoretical discussion, by: theoretical discussion, by: discussion, by: theoretical discussion, by: discussion, by: - providing thoughtful and - providing thoughtful and - providing some specific - overgeneralising about the - providing thoughtful and specific comments about the specific comments about the comments about the theory theory which underpinned specific comments about theory which underpinned theory which underpinned which underpinned the the teaching of literature the theory which the teaching of literature the teaching of literature teaching of literature underpinned the teaching of - reflectively linking to the - linking some aspects - linking one or two aspects literature concepts and theories from directly to the concepts and directly to the concepts and - critically, creatively and the secondary literature. theories from the secondary theories from the secondary reflectively linking to the literature. literature. concepts and theories from the secondary literature
Criterion 2a: Design a unit overview which incorporates cumulative, creative and critical approaches to teaching a literature study (35%) HD DN CR PP NN You: You: You: You: You: Skillfully communicated by: Effectively communicated Communicated by: Communicated by: Somewhat communicated by: by: - identifying all the important - identifying most of the - identifying some of the concepts to be taught and - identifying the most important concepts to be concepts to be taught and -including limited or unclear showing an understanding of important concepts to be taught and showing an showing an understanding opportunities for cumulative how to sequence the taught and showing an understanding of how to of how to provide an learning teaching for cumulative understanding of how to sequence some of teaching opportunity for cumulative - providing minimal learning. sequence most of teaching for cumulative learning. learning about literature. opportunities for creative - providing many rich for cumulative learning. - providing students with - providing students with an and critical response to learning opportunities to -providing a number of rich some opportunities to opportunity to respond literature respond creatively to learning opportunities to respond creatively and creatively and critically to literature respond creatively to critically to literature literature - engaging students in a literature critical examination of - engaging students in a language use, theme critical examination of and/or ideologies language use, theme and/or ideologies
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
Criterion 2b: Design a unit overview which incorporates an assessment plan for the unit (10%) HD DN CR PP NN You: You: You: You: You: Skilfully designed an Effectively designed an Designed an assessment Designed an assessment Designed an assessment assessment plan that: assessment plan that: plan that: plan that: plan that: - relates to all of the key - relates to all of the key - relates to most of the key - relates to some of the key loosely relates to the key ideas and outcomes for the ideas and outcomes for the ideas and outcomes for the ideas and outcomes for the ideas and outcomes for the unit, and offers students the unit, and offers students the unit and includes a formative unit and includes a formative unit opportunity to respond opportunity to respond assessment approach as assessment approach as creatively and critically to creatively to the concepts in well as an engaging well as a worthwhile the concepts in the unit as the unit as an ongoing part summative task summative task an ongoing part of the of the formative assessment formative assessment integrated into the unit integrated into the unit design, as well as a rich design, as well as a rich culminating task culminating task
Criterion 3: Design a detailed lesson which teaches a selected outcome from the examining literature sub-strand (20%); and (b) includes your analysis of the written and/or visual features of the text as a resource for the deconstruction phase of the lesson (10%) HD DN CR PP NN You: You: You: You: You: Skillfully designed and Effectively designed and Designed and sequenced Designed and sequenced Loosely designed and sequenced each lesson, by: sequenced each lesson by: each lesson, by: each lesson, by: sequenced each lesson, by: - Including a clear - Including a clear - Including a clear - Including a clear - Including a limited or description of all teaching description of most description of most description of most unclear description of and learning strategies to teaching and learning teaching and learning teaching and learning teaching and learning be used in each of the strategies to be used in strategies to be used in strategies to be used in strategies to be used in stages of the teaching each of the stages of the each of the stages of the each of the stages of the each of the stages of the learning cycle teaching learning cycle teaching learning cycle teaching learning cycle teaching learning cycle - demonstrating of critical - demonstrating thoughtful - Selecting relevant literary - Selecting mostly relevant - Linking minimal content to and thoughtful sorting and sorting and selection of excerpts to teach the selection of literary the relevant outcome selection of relevant literary literary excerpts to teach outcome excerpts to teach the - Selecting limited literary excerpts to teach the the outcome - Including mostly accurate outcome excerpts to teach the outcome - Including mostly accurate analysis of concept being - Including some accurate outcome - Including accurate analysis analysis of concept being examined analysis of concept being - Including limited or no of concept being examined examined examined analysis
ESH310 Critical Approaches to English #110759 Connie Valentine Assessment task 2: Unit Design
Comments
Connie,
Your introduction is great! The only thing missing from it is a clear statement of some of the conventional features of the fairytale genre, but you do include this in your resourcing for the lesson sequence. Excellent sequencing and attention to GRR in the Unit plan. You have broken most of the concepts down into achievable task-oriented chunks. I really appreciate the way that you have used mentor texts to support understandings of film themes and genre conventions.
In general, this is very well written.
The detailed lesson is very strong, and your analysis is very well considered.
Overall, an outstanding effort. Well done!
Marker: Trish Lunt Grade: HD