2020

REPOR

Mayada Ibrahim
Contemporary
98119934
Teacher Assignment 1
Leadership
102098

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Table of Contents_______
1. Executive Summary: 3
 Objectives 3
 Context of School and Curriculum Unit 3
 Goals of Report 3
 Recommendation List 4
2. Background Information on unit: 4
3. Comparative table: 6
4. Evidence-based Recommendations:
10
5. Reconstructed Unit: 14
Scope and Sequence 14
Concept map 15
Assessment Task and Marking Criteria 16
Redesigned Unit Outline Using UbD 20
6. References: 37
7. Appendences of Original Documents: 40

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Executive Summary_________________________________________

Objective:
The objective of this report is to make authentic and practical recommendations for program improvement
based on evidence-based research. These recommendations aim to improve the teaching and learning
within the English faculty and classrooms at Malek Fahd Islamic school. The unit of work that has been
modified is the Film Study and Fairy Tales unit which I taught to year 7 in 2019 during my professional
practice. Following a summative evaluation of the unit, fundamental amendments were made in order to
improve literacy and numeracy, develop critical and creative thinking, and accommodate for the diverse
learning needs of students through differentiated instruction. Modifications to the unit were guided by the
three stages of the Understanding by Design (UbD) framework or ‘backward mapping’ as outlined by
McTighe and Wiggins (2012). These stages include: (1) identify desired results, (2) determine assessment
evidence and (3) planning learning experience and instruction.

Context of the School and Curriculum Unit:

Malek Fahd Islamic School is an independent co-educational school catering from kindergarten to year 12.
It is the largest Muslim school in NSW hosting approximately 2700 students across three Sydney campuses.
97% of students come from non-English speaking backgrounds and 71% are from low-socioeconomic
backgrounds (Australian Curriculum, Assessment and Reporting Authority (ACARA), 2019). Despite having
their Muslim faith in common, students at the school come from a diverse range of backgrounds and
cultures however, 0% of the students at Malek Fahd identify as Aboriginal or Torres Strait Islander. Given
that Malek Fahd is an Islamic school, all modifications made to the unit of work comply with the
philosophical and world view position of the school. Regarding the curriculum unit, year 7 undertakes
English five hours a week and students are streamed into four classes based on ability, with the ‘four’ class
requiring extra learning support. Over the last few years, Malek Fahd has seen a drop in literacy across all
year groups. To combat this issue, the school introduced a ‘literacy task force’ in 2019 which is currently
spearheaded by the English faculty.

Goals of this Report

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The main goal of this report is to address the literacy concerns that are currently facing Malek Fahd and
make essential recommendations for the English faculty and in particular the Literacy Task Force, on how
to tackle this problem early on form year 7. This is extremely important considering that the latest NAPLAN
results have indicated a slump in literacy, with an alarming decline in writing skills. In view of this, the
evidence-based recommendations in this report will highlight practical strategies aimed at improving
literacy, particularly writing skills in year 7. The recommendations will also offer solutions on how to foster
critical and creative thinking and develop numeracy in the English classroom. They will further highlight the
importance of implementing differentiated strategies to meet the diverse learning needs of students. The
second goal of this report is to demonstrate to colleagues in the English faculty the value of applying the
UbD framework or ‘backward mapping’ to curriculum planning and assessment design. As the proposed
modifications will illustrate, the UbD framework is fundamental in identifying the “big ideas” that we want
students to understand deeply. It also guides teachers on how to design assessments that will allow
students to demonstrate their learning of these big ideas through transfer. Furthermore, the UbD
framework helps teachers plan lessons and experiences that will allow students to achieve the desired
results and succeed in their assessments (Wiggins & McTighe, 2005).

Recommendation List
The following recommendations help teachers at Malek Fahd Islamic School focus on the ‘big ideas’ or
transferable skills, concepts and processes, that they want year 7 students to understand and know how
to apply at the completion of the unit.

1.Focus on the various processes of writing to improve writing skills within literacy

2.Apply inquiry based and collaborative learning strategies to improve critical and creative thinking.

2.Develop numeracy skills by employing various mathematical tools to organise and present information

3.Blend Differentiated Instruction (DI) with the UbD framework to meet the diverse learning needs of
students.

Background Information to the Unit Being Evaluated.

The unit Film Studies, and Fairy Tales is designed for year 7 mixed ability students at Malek Fahd Islamic
school. In this unit, students explore the appropriation of fairy tales through the study of the Film
Maleficent. Originally, this unit also included a study of the film Beauty and the Beast, however since this
film is not an actual appropriation of the original fairy tale, it has been removed from the modified
program. Instead, the short story The Paper Bag Princess is introduced as a supplement text because it is a
worthy example of appropriation. Overall, teaching this unit was challenging because the program was
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heavily focused on what McTighe and Wiggins (2012) describe as “activity-oriented teaching in which no
clear priorities and purposes are apparent” .This is a problem that could have been avoided with backward
mapping , however there is no evidence that backward mapping was implemented prior to designing the
unit given that a concept map is non-existent. This unit of work was originally compressed to six weeks in
term two which did not provide teachers with adequate time to teach the content in depth. Furthermore,
students were superficially assessed on the content of the unit in the half- yearly exam and consequently,
were not provided with an opportunity to demonstrate their understanding through ‘transfer’.
Notwithstanding, it is highly recommended that this unit be taught over an entire term to allow for depth,
which of course will require an overhaul of the scope and sequence. Therefore, in addition to the
recommended changes, a reconstructed scope and sequence that is better structured for developing skills
across all units will also be provided.

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6
 Comparative Table
Area of Strengths of Concerns of the area of
consideration the area of consideration
consideration
Comprehension The unit focuses too heavily on
Literacy is adequately comprehension questions, thus
addressed in the writing (both creative and
unit through persuasive) is neglected. Students
reading and are not provided with
viewing. opportunities to transfer their
understanding of the concepts
covered in the unit in a
meaningful way, through written
expression.
Speaking is also non- existent,
and students are not provided
with an opportunity to develop
digital literacy as ICT is not
incorporated into the unit.
N/A Numeracy was completely
Suggested Changes to counteract concerns
Provide students with opportunities to improve their
writing skills by encouraging them to view writing as a
process in which they plan, draft, edit and revise
their work in order to achieve clarity of expression and
improve their overall literacy skills.
Build on students’ reading skills by introducing the
short story The Paper Bag Princess as a supplement
text to the Film study. This is important as the only
other reading offered to students is through one or
two original fairy tales.
Foster speaking skills by providing students with
opportunities to present their compositions to the
class, also by conducting in class-debates.
Allow students to develop their digital literacy skills by
incorporating ICT into the activities
Provide students with opportunities to develop and
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Research support for the changes suggested.
Sawyer, (2010) argues that
“the writing process (planning, drafting, editing,
revising) Will gradually extend student’s
understanding of the language in use, and their
capacity to judge and re-work their own writing
with sensitivity” (pg. 226). Moreover, Heineke
& McTighe, (2018) point out that
‘big ideas’ can take the form of processes such
as drafting and revising written work to achieve
clarity of expression.
Giger, Goos & Doyle, (2012) propose that the
Numeracy neglected in the original unit of
work. Students were not
provided with opportunities to
develop and apply numeracy
skills when organising and
presenting information.
Some Although some opportunities for
opportunities critical analysis on the themes is
Critical and for critical present , overall this unit was
Creative analysis under challenging in terms of
Thinking provided on the higher order thinking and posed
themes of the mainly superficial questions
text through which neglected to engage
“suggested students with a critical analysis
questions” on how for example, the fairy-
tale genre is
appropriated/subverted to
challenge certain social
stereotypes.
Inquiry based teaching and
learning not evident.
Students are not given
opportunities to foster critical
and creative thinking through
collaborative learning.
students were examined on the
unit in the half yearly exam which
discourages critical and creative
thinking.
apply their numeracy skills in English through the
application of various mathematical tools including
digital tools such as internet and ICT for research and
online quizzes, plus representational tools such
tables, Venn diagram and symbols for comparing and
contrasting texts and illustrating their understanding
of key themes in the texts.
Foster critical and creative thinking through inquiry
based learning by providing students with open
ended discussions and posing authentic questions
that require them to think, not just respond to
questions .
Encourage students to pose their own inquiry
questions which they explore answers to then share
their findings with their classmates through class
discussions.
Foster critical and creative thinking through
collaborative learning. For example:
 Facilitate in- class debating which also
requires students to respond to question
deeply.
 Conduct a mock courtroom in which students
put a fairy-tale character on trial
 Book cover prediction, where students
examine and evaluate the book cover for The
Paper Bag Princess by processing the images
they see
 Conduct an interview with the main character
form the short story.
Change the assessment from a half yearly exam to a
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use of representational and digital
mathematical tools, helps to mediate and
shape thinking across the curriculum
Steen (2007) also highlights the importance of
applying numeracy across the curriculum. This is
echoed in a national numeracy review by COAG,
(2008) which states “the development of
students’ numeracy goes well beyond the
mathematics classroom and hence requires
an across the curriculum commitment”
Findings from research conducted by
Arhern-Rindell, (1998) concludes that
applying inquiry-based learning strategies
helps to promote critical thinking.
Similarly, Paul & Elder (2006) argue that
inquiry based strategies such as open ended
discussions promote critical thinking
because they are designed to explore
students’ understanding and reasoning.
In addition, Kennedy, (2007) argues that in
class debates are also beneficial for the
development of critical thinking skills and the
mastery of the content.
Gokhale. (1995) further proposes that
collaborative learning fosters the
development of critical and creative
thinking through discussion, clarification of
ideas, and evaluation of others’ ideas.
 take home assessment that requires student to
transfer their critical and creative thinking skills
through imaginative re-creation. (According to
ACCARA, students use critical and creative
thinking when they recreate and experiment with
literature).

Includes some The unit of work is not scaffolded
relevant into a weekly sequence and
Understandin outcomes from outcomes are not effectively
g by Design the syllabus linked to teaching and learning
sequence. An overarching goal is
not evident. Furthermore, a
concept map was not created for
the unit and the content was
assessed in the half yearly exam,
in which students were tested on
what they know ( film
techniques, themes etc) rather
than what they understand .
Therefore there is no evidence of
transfer of understanding .
Use backward mapping by creating a concept map to
Identify the “big ideas” or the larger transferrable
concepts that we want to students to learn and focus
the unit on these concepts.(e.g. literacy, numeracy
critical and creative thinking). This is in accordance
with stage one of the UbD framework.
Replace the half -yearly exam with a take home
assessment task that caters to the diverse learning
needs of students and offers them an opportunity to
demonstrate their learning and understanding
through ‘transfer’. This is in accordance with stage
two of the UbD framework.
Blend the UbD framework with differentiated
instruction in order to meet the diverse learning
needs of students. This is in accordance with stage
three of the UbD framework.
Heineke & McTighe (2006) explain that the
UbD framework is designed to help teachers
identify the big ideas that we want students to
understand on a deep level so that they can
transfer their learning to new situations.
Tomlinson & McTighe (2006) argue that
providing students with multiple and various
assessment types, allows them to work to their
strengths and this ultimately leads to their
success.
According to Tomlinson & McTighe (2006)
Combining differentiated instruction with the
UbD framework will ensure that all students are
learning at maximum levels.

Scaffold the unit into a weekly sequence and make

sure the teaching and learning is linked to relevant
outcomes.

Reconstruct the scope and sequence in accordance

with the UbD framework to make sure it is linear.

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10
Evidenced-Based Recommendations___________________________

Introduction

The English Faculty at Malek Fahd Islamic is strongly encouraged to consider the following
recommendations for the unit of work ‘Film Studies and Fairy Tales’. It is important to keep in mind that
the original unit lacks opportunities for critical and creative thinking, fails to adopt strategies that focus on
improving literacy – which is a major concern for the school - and overlooks the significance of
incorporating numeracy across the curriculum. The unit further offers little integration of differentiation
and inquiry -based learning, and there is no evidence of backward mapping given that a concept map had
not been created for the unit. Furthermore, students are superficially assessed on this unit in a summative
half -yearly exam which fails to adequately assess them on their understanding through “transfer”. For
students to be able to develop transferable skills, the unit of work has been redesigned with the following
recommendations in accordance with the UbD.

1.Focus on the various processes of writing to improve writing skills within literacy

The original unit of work fails to develop literacy in a meaningful way. Although it provides opportunities
for comprehension through reading and viewing, it is limited in developing students’ writing skills which is
an area of concern for the school. Considering this, the unit has been modified to ensure that the
curriculum and teaching is focused on developing a ‘big idea’ that is transferable to other situations in
accordance with stage one of the UbD framework. According to Heineke & McTighe (2018), such big ideas
can take the form of processes such as drafting and revising written work to achieve clarity of expression.
In view of this, the modifications are designed to encourage students to think of writing as a process that
involves various stages including planning, drafting, revising, and editing (Seow,2002). In the planning
stage, students brainstorm ideas to stimulate thoughts, and this helps them move past the blank page
paralysis. The editing stage of the writing process ensures that students apply the conventions of spelling,
grammar, punctuation, and syntax effectively and appropriately in order to produce a polished piece of
work (Sawyer, 2010). Equally important is the post writing stage in which students showcase their polished
product by reading it aloud to the class. This also promotes speaking skills within literacy and motivates
students by giving their writing a sense of purpose. (Seow,2002). The modifications also require teachers to
guide students through the writing process by providing checklists, scaffolds, and teacher modelling. This
is in accordance with stage three of the UbD framework which looks at designing lessons activities and
experiences that will lead to the achievement of the desired results (Wiggins & McTighe,2012). Overall, the
modifications draw on the UbD framework in order to focus the curriculum and teaching on improving
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writing skills within literacy. This according to Roth, (2012) is an enduring concept that has value beyond
the classroom.

2.Apply inquiry based and collaborative learning strategies to improve critical & creative thinking.

The term ‘‘inquiry-based learning’’ generally refers to student-centred ways of teaching in which students
raise questions, explore situations, and develop their own ways towards solutions (Maab & Artigue,2013).
Unfortunately, the original unit outline does not provide students with many opportunities to find their
own paths to solutions because it is heavily teacher centred. To address this concern, the modifications will
allow teachers to facilitate the learning of students by incorporating inquiry based and collaborative
learning strategies, which according to Arhern-Rindell (1998) help to promote critical thinking. Fostering
critical thinking in year 7 is particularly important because the skills required to think logically and
abstractly begin during adolescence around the age of twelve (Piaget ,1997). The modifications encourage
critical thinking through collaborative learning which according to Vygotsky (1978), allows students to
perform at higher intellectual levels than individual work. Furthermore, research conducted by Gokhael
(1995) concludes that “collaborative learning fosters the development of critical thinking through
discussion, clarification of ideas, and evaluation of others’ ideas. Considering this, the modified unit of
work encourages students to work in groups to research and explore answers to inquiry-based questions.
Students are also encouraged to raise their own questions in which they explore answers to through
independent ICT based research. The modified changes also incorporate open ended class discussions
which according to Paul & Elder (2006) are designed to explore students’ understanding and reasoning. In
addition, modifications are also made to incorporate in- class debates as a collaborative tool, which
according to research undertaken by Kennedy (2007) “enhances learning by developing critical thinking
skills, oral communication skills, and empathy”. The modifications further encourage critical and creative
thinking thorough imaginative recreation. For example, students are encouraged to work in groups and
experiment with subverting a well know fairy tale by either changing the POV, adding a new character or
adapting it to a modern setting. Students also experiment with designing a book cover and blurb for their
subverted fairy tale in preparation for their assessment task. Such modifications are in accordance with
ACCARA’s (2019) definition of critical and creative thinking which states that “students use critical and
creative thinking when they recreate and experiment with literature”. Other modifications that embody
critical and creative thinking through inquiry based and collaborative learning include interviews with a
character and putting characters on trial. All the activities mentioned above are what stage two of the UbD
framework describes as ‘performance tasks. These are authentic tasks that allow students to transfer their
learning to new situations, as a way of providing evidence of understanding (Heinke & McTighe,2018).

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2.Develop numeracy skills by employing various mathematical tools to organise and present information

Given that this is an English unit, some teachers may neglect to focus on developing students numeracy

skills, however according to COAG (2008) the development of students’ numeracy goes well beyond the

mathematics classroom and hence requires an across the curriculum commitment (p.g7). Similarly, Steen

(2007) argues the importance of engaging students with tasks that involve the use of numeracy in all

school subjects. The original unit outline failed to recognise the importance of numeracy across the

curriculum by neglecting to employ numeracy strategies. The proposed modifications address this issue by

using mathematical tools to obtain ‘evidence of understanding’ in accordance with stage two of the UbD

framework. This includes digital tools such as ICT and internet for promoting student engagement and for

providing supplementary assessments such as online quizzes - which according to stage two of the UbD

framework, provides additional evidence of students’ knowledge acquisition and skill proficiency (Heinekin

& McTighe, 2018). Other mathematical tools incorporated into the unit of work include representational

tools such as tables, symbols, and Venn diagrams to compare texts and to represent ideas (Giger, Goos &

Doyle,2012). These numeracy-based activities are authentic performance tasks that help students make

meaning and transfer skills in accordance with the UbD framework.

3. Blending Differentiated Instruction (DI) with the UbD framework to meet the diverse learning needs of
students.

The third stage of the UbD framework looks at designing experiences for learners to reach and
demonstrate attainment of goals (Wiggins & McTighe,2005). In order to do this, teacher must examine
how the unit will be differentiated to optimise achievement for all learners (Heineken & McTighe,2018).
Differentiated instruction is fundamental when planning and designing a unit of work because It is based
on the premise that all students bring different gifts and challenges to the classroom and they learn best
when teachers accommodate for their differences. (Tomlinson,2001). Furthermore, combining
differentiated instruction with the UbD framework, ensures that all students are learning at maximum
levels (Tomlinson & McTighe, 2006). Although the original unit of work provides some opportunities for
extension activities, accommodations for lower ability students is non -existent. The modified changes
address this concern by adjusting the curriculum content, assessment methods and teaching strategies. For
example, the curriculum content is modified to accommodate for the diverse needs of students by

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providing them with choices for topics to explore (King,2010). Students are also given the option of
listening to the prescribed texts as an alternative to reading. The modified assessment task also
accommodates for diverse learners by providing students with choices for their writing prompts. It also
allows them to transfer their understanding of the concepts and skills taught in different and engaging
ways. Moreover, teaching strategies are differentiated by incorporating collaborative learning and ICT into
the lessons. Complex ideas are also taught through teacher modelling, scaffolds, and visual aids such as
PowerPoint presentations and YouTube videos. Given that the UbD framework helps to guide teachers on
“what” to teach and what assessment evidence to collect, differentiated instruction is essential for guiding
teaches on “how” to teach. (Tomlinson and McTighe, 2006). Therefore, Understanding by Design and
Differentiated Instruction are mutually supportive of one another and must be blended into the planning
and designing a unit of work in order to maximize the growth of individual learners.

Conclusion

The recommendations proposed above are designed to improve literacy in year 7 with a focus on
developing writing skills that can be transferred to other curriculum units and year groups. The
recommendations will also help to foster critical and creative thinking through inquiry based and
collaborative learning while also developing numeracy skills in English through the application of various
mathematical tools. In addition, the recommended changes help to meet the diverse learning needs of
students by blending differentiated instruction with the UbD framework. These recommendations are
made in accordance with the UbD framework to ensure that the goal of the unit is to have students
transfer their learning to new situations. By integrating a concept map into the unit design, teachers will be
able to determine more easily, the larger transferable concepts that they want students to understand and
be assessed on. Overall, the recommended changes ensure an improvement in the teaching and learning
of the original unit.

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Reconstructed Scope and Sequence - Stage Four English Year 7 2020

Content outcomes
TERM 1 EN4-1A
60,000 Years and Counting (Weeks 1-11) EN4-2A
(Sub-focus – persuasive writing) EN4-3B
EN4-6C
Text Types (Fiction & Non-fiction): EN4-7D
- Indigenous Speeches EN4-8D
- Indigenous Poems
- Media
Digital texts
TERM 2 EN4-2A
EN4-4B
NOVEL: Not Another Hero (Weeks 1-10) EN4-5C
(Sub-focus – creative writing) EN4-6C
EN4-7D
Focus Text: Percy Jackson and the Lightning Thief by Rick
Riordan

Text Types:
- Fiction
- Film
- Digital texts
Multimedia
TERM 3 EN4-3B
Happily Never After (Weeks 1-10) EN4-5C
EN4-6C
EN4-7D
Focus texts: EN4-8D
Sleeping Beauty by Brothers Grimm, The Paperbag
Princess by Robert Munsch & Maleficent (2014)

Text Types:
- Fiction
- Film
Print texts
TERM 4 EN4-1A
EN4-2A
Shaking Up Shakespeare (Weeks 1-8)
EN4-3B
Focus Text: Macbeth the Graphic Novel: Plain Text EN4-4B
(graphic novel by Jon Haward & John MacDonald – 2008) EN4-9E

Text Types:
- Fiction
- Visual texts
- Print texts
- Multimedia

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 fantasy Fable Concept Map
Setting Predictable
Include folktale Good vs evil
language
legends s
Morals/lesson
Short story Conventions s
Genre
myths Introduce a character

Identified Magic Modernise

Setting
Imagination Story telling Such as
Creativity
Change POV
explore
inspire Appropriation
Fairy Tales
Mise en scene

Example
Film Form

Camera Features Maleficent

Mode
angles narrative
The Paper
Bag Princess
shots Subverted
features features
lighting Plot twists
sound

The idea of true love plot

POV

Non traditional happy ending Setting

characters

Gender roles/female hero themes

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 Stage 4 Year 7

English

Mode: Assessment Notification – 2020 Weighting:

Unit: “Happily Never After”
Writing 25%
Notification Date: Assessment Due Date:
th
Monday 24 August 2020 Monday 17th September 2020 (Week 8)
(Week 6)
OUTCOMES BEING ASSESSED

 EN4-3B uses and describes language forms, features and structures of texts appropriate to a range of
purposes, audiences and contexts
 EN4-5C thinks imaginatively, creatively, interpretively and critically about information, ideas and
arguments to respond to and compose texts
 EN4-6C identifies and explains connections between and among texts
 EN4-7D demonstrates understanding of how texts can express aspects of their broadening world and
their relationships within it
 EN4-8D identifies, considers and appreciates cultural expression in texts

TASK DESCRIPTION

Rationale:
In class, you examined the way fairy tales reinforce certain social stereotypes and
how these stereotypes are challenged in appropriations like the film Maleficent and
the short story The Paper Bag Princess. You experimented with the language form
and features of the fairy tale genre and applied your critical and creative thinking
skills to compose your own appropriation of a fairy tale studied in class. You further
experimented with producing polished written compositions through the application
of the various stages of the writing process (planning, drafting, revising, editing). This
task requires you to transfer the skills and processes that you developed through
your learning of this unit.

Your Task:

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Part A: Subverting a Fairy Tale. (15%)

(You are required to subvert a well-known Bother’s Grimm fairy tale (not examined in
class) by changing the perspective/POV that it is traditionally told from
 You may select from ONE the following choices:

 Cinderella -Re-told from the perspective of one of the step-sisters

(Anastasia or Drisella)
 Jack & the Beanstalk- Re told from the Giant’s perspective
 Goldilocks and the Three Bears- Re-told from Baby Bear’s perspective
 Your subverted fairy tale must be 600 words
 Apply fairy-tale convention (i.e. Once Upon a Time, Happily ever After etc..)
 Make sure you follow creative writing structure (exposition, complication,
resolution)
 Apply figurative language techniques
 Submit a draft copy that shows you have followed the writing process ( plan ,
draft ,edit revise,) - use a red marker to show your editing
Part B: Design a Book and Blurb for your Fairy Tale 10%
 Include a catchy title and the composer’s name
 Include Fairy Tale elements in your design
 Use persuasive language in the blurb to grab the reader’s interest.
 Attempt to be creative, original, and interesting
 Presentation- you must submit the book cover on ONE piece of A4 paper. It will
be flat with the back cover on the left side and the front cover on the right-hand
side of the A4 paper as you look at it.
Submission Details:
 A polished copy of Section A must be submitted into Turnitin by 9am Monday
17th September.
 A polished hard copy of Section A must be submitted to your teacher during
your English period on the same day along with your edited draft copy and
Section B
 Failure to submit on the due date will result in a 10% penalty for each day that it
is late
 If you are unable to submit the task on time due to illness, you must present
your teacher with a medical certificate
 Plagiarism will be awarded a zero

18
 Year 7 Marking Criteria

PART A: Creative Writing – Subverting a Fairy Tale /15

PART B-Creative Writing Marks
 Effectively follows the conventions of creative writing structure (exposition, 13-15
complication, resolution) A
 Shows an insightful and perceptive understanding of appropriation and subversion of
the fairy tale genre
 Demonstrates a highly developed understanding of figurative language techniques
(effectively applies at least three)
 Uses a wide range of sentence structures with accurate use of spelling, punctuation,
and grammar

 Competently follows the conventions of creative writing structure (exposition, 10-12

complication, resolution) B
 Shows a well-developed understanding of appropriation and subversion of the fairy tale
genre
 Demonstrates a well-developed understanding of figurative language techniques
(competently applies at least three)
 Uses a wide range of sentence structures with mostly error-free spelling, punctuation,
and grammar
 Soundly follows the conventions of creative writing structure (exposition, complication, 7-9
resolution) C
 Demonstrates adequate understanding of figurative language techniques (soundly
applies two/three)
 Shows a competent understanding of appropriation and subversion of the fairy tale
genre
 Generally, uses structured sentences; spelling punctuation and grammar may be flawed

 Follows the conventions of creative writing structure in an elementary way 4-6

 Demonstrates some understanding of figurative language techniques (applies one/two) D
 Shows an elementary understanding of appropriation and subversion of the fairy tale
genre
 Uses mainly short simple sentences, spelling, grammar, and punctuation lack
consistency
 Limited control of creative language writing structure 1-3
 Has a limited understanding of appropriation and subversion of the fairytale genre. E
 Demonstrates limited understanding of figurative language techniques (not applied)
 Limited control of sentence structure, paragraphing, spelling, punctuation and
grammar.
Non- attempt, non – serious attempt 0

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 PART B: Book Cover and Blurb /10
PART B-Book Cover/Blurb Marks
 The book cover is creative and vividly depicts the story 13-15
 Effectively conveys elements of the fairy-tale genre A
 Uses language in the Blurb that is sophisticated, precise and has persuasive flair

 The book cover is creative and thoroughly depicts the story 10-12
 Thoroughly convey elements of the fairy-tale genre B
 Uses language in the blurb, which is mature, precise with some persuasive elements

 The book cover soundly depicts the story 7-9

 Soundly conveys elements of the fairy tale genre C
 Uses language in the blurb which is effective in some ways
 The book cover depicts the story in a limited way 4-6
 Conveys elements of the fairy-tale genre in a limited way D
 Uses language in the blurb with limited effect
 The book cover is elementary in depicting the story 1-3
 Elements of fairy tale genre not Conveyed E
 Writes a simple underdeveloped blurb which may lack control of language

Non- attempt, non – serious attempt 0

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KEYS
Black font = original text
Red Font = adjustments to original
Green Font = literacy
Blue Font = Critical & Creative Thinking
Light Blue Font = Numeracy
Yellow Highlight = UbD
Purple Font = Differentiation

UNIT OUTLINE
Subject ENGLISH Stage: 4 Number of Weeks 6
Unit title: Film Studies and Happily, Never After
Fairy Tales

Key Concepts/ Big Ideas The importance of this learning

Genre This unit is a close study of the fantasy film Beauty and the Beast (2017) OR Maleficent (2014). NOTE: Beauty and the Beast is not an
Appropriation /subversion appropriation of the original Fairy Tale , therefore it will be removed from the program completely as it does not support the
Themes students’ learning in preparation for their assessment. The films draws significantly from the fairy-tale genre and makes references to
Style popular culture, historical figures and events, gender stereotypes. Students will analyse the director’s choice of character to establish
Convention deep understanding of the filmmaker’s purpose. Students will examine and evaluate a range of specific devices employed in a film to
Morals/lessons understand the cultural and historical context of this form and its place in the broader film context. The teaching strategies employed
Stereotypes in this unit are diverse and the learning experiences relate the everyday lives of the students and involve a variety of activities
Challenging stereotypes including drama, technology, discussion, and writing tasks with a focus on visual literacy. This unit is a close study of the fantasy film
Cultural Assumptions Maleficent (2014) as an appropriation of the early Brother’s Grimm Sleeping Beauty short story. The film draws significantly from the
World views fairy tale genre with subverted elements of archetypes, plot structure, language, the ‘happily ever after’ fallacy, and the idea of ‘true
Point of view/Perspective love’. Students will compose their own subverted fairy tales, as well as an exposition on the importance of fairy tales. They will also
conduct film reviews in addition to their studies of film techniques. As a supplementary text, the second film adaptation of
Maleficient 2 (2019) incites further reflection and contemplation about a continuous narrative, rather than a story with a definitive
ending.
Unit context within Scope and Targeted Syllabus Outcomes (including life skills outcomes)
Sequence
English K-10
With the reconstructed scope and
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sequence this unit will be
preceded by a novel study in term
› EN4-1A responds to and composes texts for understanding, interpretation, critical analysis, imaginative expression and pleasure
two in which the sub focus will be › EN4-4B makes effective language choices to creatively shape meaning with accuracy, clarity and coherence
creative writing and in Term one
students looked at Poetry and › EN4-5C thinks imaginatively, creatively, interpretively and critically about information, ideas and arguments to respond to and
speeches in which the sub focus compose texts
was persuasive writing. › EN4-6C identifies and explains connections between and among texts
Students’ background knowledge
in persuasive and creative writing › EN4-7D demonstrates understanding of how texts can express aspects of their broadening world and their relationships within it
will assist them in the assessment › EN4-8D identifies, considers and appreciates cultural expression in texts
task for this unit As, this unit is
also a film study, it flows on to the
next unit of Visual Literacy.
Literacy Targets Numeracy Targets ICT Targets CCP/ GC Assessment
 Comprehension and  Students  Use of ICT Personal & Social Capability Assessment as learning:
interpretation of texts encouraged to platform  Think Pair share
 Analyse different use Problem ‘Education Students develop personal and social  Self- editing of written
capabilities by examining gender compositions
perspectives in texts solving skills Perfect’
stereotypes in fairy tales and how these
through reading and  Digital tools  PowerPoint  Peer feedback
stereotypes are challenged in
viewing  Representat- presentation  Teacher feedback
appropriations like the film ‘Maleficent’
 Develop critical and ional  YouTube videos and the short story ‘The Paper Bag  Checklists
creative literacy tools(comaprat  Personal devices Princess’. This allows students to gain
 interpret/evaluate -ive tables, an understanding of the role of Assessment of learning:
to engage in
advocacy in contemporary society and  Assessment task- written
information within and venn diagrams, Kahoot quizzes
build their capacity to critique societal composition
between text symbols) and research
constructs and forms of discrimination,
 Application of correct such as sexism. Assessment as learning:
metalanguage  ICT quizzes ( Kahoot, Education
 Understanding and Perfect)
applying fairy-tale  Class discussion
genre conventions  In -Class Debates
 Applying  Observation
appropriations and
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 subversions to texts  Practice writing tasks leading up to
 Understanding and assessment
applying the various
stages of writing in
written compositions
WEEK Syllabus content Teaching activities/ learning sequences Differentiation/ adjustments / Extension
Students learn
about/ learn to

WEEK  Silent reading suggestion: ‘Snow White’ (an appropriated book of

1 the Brothers Grimm fairy tale illustrated by Camille Rose Garcia)
(Literacy)

Outcome 1
Introduction to unit
recognise, reflect on, differentiation through collaborative
interpret and explain
 Inquiry based learning- using their ICT devices, students are divided into
groups of three and research the following: learning /Differentiation through ICT
the connections
between their own o What is a fairy-tale?
experiences and the o How have fairy tales been told?
world in texts
o What is genre? What is a fairy-tale genre?
o Students devise THREE additional questions on their own
about what else they want to learn about fairy tales-
students research the answers to their questions. And
present their findings to the class in class discussion

Outcome 1 ICT
 Class discussion Inquiry Based learning
consider and analyse
the ways their own o Discuss whether the fairy tale genre teach us important
experience affects lessons?
their responses to o What does it mean to live happily ever after?
texts
Differentiation through explicit instruction

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 and visual aid through PowerPoint
 New vocabulary (Literacy) presentation imbedded with short YouTube
videos. PowerPoint is also accompanied with
Students use their ICT devises to look up the following words and write their
guided notes for student to fill out as they go
definitions in their books through each slide. The guided notes will
(Moral, Genre, Form, Content, Style Convention) contain all the information in the PowerPoint
presentation for them to paste in their
 Explicitly teach the conventions/features of fairy tales through an books.
**Teachers can access this resource on the
interactive PowerPoint presentation (Literacy) English Drive
 The text type appears as a short story
 There is a hero/heroine (the ‘good’ character)
 An ‘evil’ or ‘bad’ character
 It includes magical objects, events and characters
 There is a moral message
 The use of predictable language (e.g. “Once upon a time”, “and they lived
happily ever after”)
 A predictable plot structure (e.g. Overcoming evil and a happy ending).
 The inclusion of royalty (e.g. princes and princesses) and poverty (e.g. a
poor working girl/boy) Differentiation through collaborative learning
 Setting (e.g. cottage, castle, town, forest, village) and choice

 Typical characters (e.g. Evil queen, handsome prince, fairies, villain,

hero, damsel in distress, etc.)
 Good vs Evil theme
 Groups of three (3 bears, 3 pigs, etc.)

Outcome 1 Students, in groups of three or pairs, read a different fairy-tale from the following
explore and choices (Literacy)
appreciate the  The Frog Prince,
aesthetic qualities in  Sleeping Beauty,
their own and other Differentiation through collaborative learning
texts and the power
 Puss in Boots,
/Class discussion /choice
of language to  Rapunzel,
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communicate  Princess and the Pea,
information, ideas,  Little Red Riding Hood,
feelings and  The girl the fish and the crown,
viewpoints  The Ainu and the Fox, Crow and Waterhole.
outcome 4
recognise and On an A3 paper, the groups take notes on the characters and key events in the
appreciate the ways fairy-tale. They also answer the following questions: (Inquiry Based Learning)
a wide range of texts  Who is telling the story?
communicate by
 When was it written?
using effective
language choices  Whose point of view is represented?
 Whose perspective is not heard?
 Who is the intended audience?
 What elements of the fairy tale genre can you observe?
outcome 4 INQUIRY BASED LEARNNG -CLASS DISCSUSION
 What do these fairy tales reveal about the nature and purpose of fairy
explore and analyse
the ways purpose, tales? (students should consider the social values emphasized)
audience and
context affect a
composer's choices
of content, language Appropriation & Subverted Reading
forms and features
and structures of
texts to creatively Inquiry Based Learning
shape meaning In groups of three or pairs, students use their ICT devices to research the
following terms
Outcome 5  Appropriation
Understand and
apply knowledge of
 Subverted
language forms and  Fractured Fairy Tales
features  Students formulate their own definitions and present to the class
use imaginative texts
Differentiation through visual aid (PowerPoint
as models to
replicate or subvert  Teacher then explains and demonstrates to the students (through an presentation embedded with YouTube video
examples of appropriated fairy tales.
textual conventions interactive PowerPoint presentation) the concepts of appropriation and
PowerPoint is also accompanied with guided
to create new texts subverted reading. Teacher explains To subvert something is to change or
notes for student to fill out as they go
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 through each slide. The guided notes will
twist the conventions (what usually occurs/what you expect to occur) or the
contain all the information in the PowerPoint
stereotypes of a well-known text. For example, stories change the setting, presentation for them to paste in their books
characters, plot and point of view that you are familiar with. The most **Teachers can access this resource on the
common convention of fairy tales to be subverted is the happy ending, for English Drive
example, in The Three Little Pigs the ending could have the wolf climb down
the chimney and capture the three little pigs (Which is a happy ending for
the wolf!)
Differentiation through collaborative
 Class Discussion – teacher facilitates class discussion on different ways learning/class discussion
that our favourite fairy tales can be subverted

WEEK
2 Courtroom rules/ procedures/roles found on
 As a class, Students examine the subverted story of Little Red Riding Hood, English Drive

Outcome 5 The Wolf's Story: What Really Happened to Little Red Riding Hood and fill
understand and out comprehension activity sheet (found on English Drive)
use conventions  Fairy-tale courtroom-The wolf Vs Little Red Riding Hood-
26
of storytelling in
a range of modes
 students split up into two or three groups and engage in mock courtroom
to determine whether the Wolf is guilty or innocent- teacher provides
and media, eg
digital students with courtroom procedure and rules
storytelling  groups share their deliberations with the class and explain why they
reached their verdict

Differentiation through collaborative

Identifying Describing & Applying Subversion
learning /Discussions
Outcome 5
critically analyse Inquiry Based Learning /Book Cover prediction-
the ways
experience,  As a class, Students examine the book cover/ title and predict what the
knowledge, values story might be about- students also discuss the following
and perspectives  What do you think it means to be a paper bag princess?
can be  How does the picture of the princess dressed in a paper bag and with
represented messy hair challenge how we would normally imagine a princess to look
through like?
characters,  Students asked to formulate their own questions about what they want to
situations and know about the story
concerns in texts
and how these
affect responses to
texts

Outcome 5
Students to read /listen to The Paperbag Princess by Robert Munsch as a class. Teachers may wish to play the read aloud
understand and use
conventions of In groups of three or pairs, students should annotate for version for lower ability students which
storytelling in a also contains visuals.
range of modes and https://youtu.be/0bxWnzqVXHw
media, eg digital  (1) subversion,

27
storytelling
 (2) fairy tale genre references and for

 (3) general techniques

outcome 8 explore
the ways recurring
stories, eg legends  Class discussion: Subverted features you can discuss:
and fairy stories, Interview structure scaffold found on
have been written  The prince becomes the ‘damsel in distress’ and the princess saves English Drive
and rewritten for
different contexts and
him.
media  The princess is intelligent and outsmarts the dragon.
 The princess goes on the quest; not idle, sitting and waiting for
things to happen/someone to help. Teachers provide student with a creative
 General personality of the princess is not ‘sweet’ and innocent writing scaffold and a glossary on
(being ladylike and genteel). Figurative devices (located on English
 Dominant view of females in fairy tales as having beauty as merit, Drive)
wearing long gowns/sparkling jewellery. Differentiation through revision- Teacher
 Opening is traditional; mentions royal princess whom is beautiful, also provides students with feedback on
then quickly shifts into an unconventional quest story with their written work
princess as hero.
 Princess does not physically combat the dragon (evil character),
but instead outwits it.
Outcome 6  Non-traditional happy ending; the woman does not need to be
create literary texts
married to be happy.
that adapt stylistic
features encountered
in other texts, for
example, narrative
viewpoint, structure
of stanzas, contrast  Interview with Elizabeth-
and juxtaposition in pairs students compile a list of questions they would ask Elizabeth and
possible answers she may give. Students can present their interviews to the class

 Drop Everything and Write!

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 Creative Writing Revision
 Teachers should revise creative writing conventions covered in term TWO
 i.e. structure (exposition, complication, resolution)
 figurative language techniques

(Preparation for Assessment task)

Imaginative re-creation: Students rewrite their selected fairy-tale by applying
appropriation and subverted reading. Including the following
 Changing the perspective or POV
 Introducing a new character
 Adapting it to a modern setting
 Adding a scene
 Students should be explicitly encouraged to use creative writing
techniques in their writing and plan, draft, edit and polish.
Differentiation through modelling by
using a teacher composed example with
**Teacher projects on the smart board a piece of creative writing composed by
deliberate mistakes that students can
teacher with deliberate mistakes, and asks students to use conventions of editing
edit -in order to demonstrates to them
such as a red pen, circles, asterisks to make corrections and select areas of
importance of editing in the stages of
improvement.
writing – this can also make them feel
 Students to present their subverted fairy tale to the class and receive
empowered.
informal peer feedback
 Extension: Students should consider using a storyboard or prose to Differentiation through Extension activity
present their adaptation after writing.
 Students create a book cover and blurb for their subverted fairy and
present to the class

WEEK Outcome 7 Exposition Revision

3 draw on experience
to consider the ways  Students log on to Education Perfect and revise exposition structure learnt Differentiation through revision &
29
the 'real world' is from Term 1 (introduction that outlines 3 arguments, 3 PEEL paragraphs ICT/resources – students log on to Education
represented in the Perfect and complete the revision task that
imaginary worlds of and a conclusion) as well as persuasive techniques.
has been set up for them.
texts, including  Students to write a full exposition on The Paperbag Princess. Options for
imaginative questions are: Teachers provide students with an
literature, film, media exposition scaffold and a glossary on
and multimedia texts  How does The Paperbag Princess reveal changing attitudes from the past? persuasive writing techniques (located on
 Argue that The Paperbag Princess is a subversion of the fairy tale genre. the English Drive)
 Discuss the differences between a traditional fairy tale and The Paperbag
Princess.
 Explain what lessons The Paperbag Princess teaches its audience
 Students should be explicitly encouraged to use persuasive techniques in
their writing and plan, draft , edit and polish

**Teacher projects on the smart board a piece of persuasive writing composed by Differentiation through modelling by
teacher with deliberate mistakes, and asks students to use conventions of editing using a teacher composed example with
such as a red pen, circles, asterisks to make corrections and select areas of deliberate mistakes that students can
improvement edit -in order to demonstrates to them
 Students present their composition to the class and receive informal importance of editing in the stages of
peer feedback writing – this can also make them feel
empowered.
Differentiation through collaborative learning

Outcome 3
engage with the
language and
structures of texts  Informal in- CLASS DEBATE:
in meaningful,  Students split up into two groups and give the following statement:
contextualised and ‘GIRLS CAN DO ANYTHING THAT BOYS CAN” Debate scaffold provided
authentic ways

 Students read/listen to the Brother’s Grimm version of Beauty and the

Beast or Sleeping Beauty and: engage with analysing the conventions of the
fairy tale genre through: Teachers may wish to play the read aloud
version for lower ability students which
30
 also contains visuals.
Plot summary – the main events of the story and what was the turning
https://youtu.be/2fbosiD49tM
point. (Using plot diagram)
Description of the main characters ( Relationship chart/character web
of all characters.) Scaffolds for Venn Diagram/tables/charts
plot diagram provided
 Description of the setting (Illustration/map of the setting.)
 Indicate the main morals or themes of the fairytale using
examples/quotes from the text, ( use symbols to represent themes)
 A summary of the predictability of the original tale in relation to their
understanding of the genre.
WEEK Outcome 6 Prior Viewing Differentiation through visual aid
4 investigate how  Teacher presents to the class PowerPoint detailing ‘Film Techniques (interactive PowerPoint presentation
visual and
Students should compile a list of basic techniques to establish their understanding embedded with YouTube videos).
multimodal texts
allude to or draw on of how film techniques relay a visual story including: PowerPoint is also accompanied with
other texts or images  Camera angles (bird’s eye view, high angle, low angle, dutch/oblique guided notes for student to fill out as
to enhance and layer angle, eye-level, etc.) they go through each slide. The guided
meaning notes will contain all the information in
 Camera shots (establishing shot, long shot, P.O.V. shot, mid-shot, close
the PowerPoint presentation for them to
up, extreme close up)
paste in their books.
 Lighting (high-key lighting, low-key, side light, back-light, neutral)
 Sound (diegetic and non-diegetic)
 The 5 elements of mise-en-scene (lighting, acting, setting, costume,
props).

Students use their ICT devices to engage in Kahoot quiz on film Differentiation through engaging ICT
techniques. (Literacy) based resources and activities(Kahoot)

 Extension: Students in pairs create a movie poster based on their reading Differentiation through extension activity
of Sleeping Beauty and incorporate visual techniques in their poster.
Differentiation through Visual aids
31
  Students to view the theatrical trailer of Maleficent (2014) and identify https://www.youtube.com/watch?
film techniques used. Teacher to discuss with class. v=JIIgXEGAZgE

 . Class watch the film Beauty and the Beast/ Maleficent

WEEK compose a range of After Viewing : Beauty and the Beast/ Maleficent
5 visual and  Students compile a list of similarities and differences between the written
multimodal texts
using a variety of version and the film in relations to characters; plot; themes; setting. (using Differentiation through engaging
visual conventions, a Venn Diagram) resources/activities (venn diagrams, story
including  Students to complete a plot diagram OR storyboard summary (Literacy) boards, plot diagram – scaffolds provided
composition, vectors,  Teacher select scenes/camera shots from the film to identify to the class
framing and reading
the film techniques and analysis. How film techniques contribute to
pathway
setting, characterisation, plot, understanding of scenes, etc.? (Literacy)
 Whose identities change during the course of the film? Whose stay the
same?

Differentiation through collaborative

Outcome 5
critically analyse the
ways experience,
knowledge, values
and perspectives can
be represented
through characters,
situations and
learning
 Inquiry Based Learning - CLASS DEBATE:
 Students split up into two groups and are given the following question Debate scaffold provided
to discuss “DOES MALEFECEINT REPRESENT GOOD OR EVIL?”
For a more critical analysis of genre, discuss how it has been subverted,
for e.g.
Perspective/P.O.V is from Maleficient, not a third person perspective.
32
 concerns in texts and Characterisation of Maleficient; plays a bigger role, has a backstory, shows
how these affect
responses to texts
her childhood and her character development.
‘True love’s kiss’ has been changed to a motherly love, which challenges
the traditional romantic love.
Stefan’s backstory with Maleficient
Clear good vs evil themes/characters (Maleficient is both)
“Both hero and villain”. The villain is someone we can sympathise with.

Outcome 5 compose
a range of visual and
WEEK Pair work poster analysis Differentiation through collaborative
multimodal texts
6 using a variety of learning /visual representation
visual conventions,  Students should create a poster in pairs which reflects on their
including understanding of ONE traditional fairy tale genre element and how/why it
composition, vectors,
framing and reading
has been subverted in Maleficent. Students may choose to represent this Students provided with an exposition
pathway using a compare/contrast table. (Numeracy) scaffold ( located on English Drive)

 Eg. Teachers can break up pair tasks using the following elements:

Outcome 5  The text type appears as a short story : How does the mode of film allow
critically analyse the
for powerful subversion?
ways experience,
knowledge, values  There are ‘good’ characters. Reflect upon characters such as the old king
and perspectives can (who passed away), King Stefan, the three fairies, Aurora, Diaval
be represented
through characters,
(Maleficient’s servant),
situations and  The prince and Maleficient. Have they all been ‘good’ consistently? What
concerns in texts and Differentiation through collaborative
does it tell us about the complexity of people?
how these affect
 There are ‘evil’ characters à How does subverting the original villain in learning/choice
responses to texts
Sleeping Beauty allow for critical reflection? Reflect upon Maleficient’s
backstory and her development. What about Stefan? Does he remain
33
 ‘good’ by the end? Is there really such thing as ‘evil’ people? What do we
learn about why people do things?
 A predictable plot structure à How do plot twists and subversions in plot
structure allow for rethinking of different perspectives? What is the
purpose of this?
 Typical characters/Archetypes à Which characters are not typical? How do
they enrich the film? Consider why the beautiful characters in traditional
tales represent virtuosity and morality. How are the characters’
appearance (such as Maleficent and Diaval) NOT indicative of their true
selves? And how does this reflect the subverted nature of the film?

The Setting
Beauty and the Beast is set in a small town in France called Villeneuve. Class
discuss how they may have guessed that this film was set in France. Study
some of the names using a dictionary find out the meaning of Lumière, Le
Fou and Belle.
Maleficent: How is the setting of the film significant to the fairytale genre?
Suggested activity Students create a collage of different settings in their
chosen film and identify how each setting affects the story. It can help set the
mood, influence the way characters behave, affect the dialogue, foreshadow
events, invoke an emotional response, reflect the society in which the
characters live, and sometimes even plays a part in the story. Teacher
displays collages around the room
The Themes of Beauty and the Beast and Maleficent
In groups Students identify the themes of their chosen film
B&B: love, appearances, identify and exile.
Maleficent: power, greed, love (familial)
Next to each theme they should write down at least two incidents from the
film that illustrate that theme. And draw symbols to represent each theme

34
 (Numeracy)
Suggested Questions Relating to the film’s themes:
The film suggests that real love means seeing the true person within instead
of just what's on the outside.
 In what specific ways do the characters express their love for each other
in this film?
 Why is Gaston's idea of love actually not close to love at all? What
aspects make it different from the Beast's love for Belle? Do the
servants love the Beast? How? Does that differ from Belle's love?

 OR What idea of love is portrayed in the character of Maleficent?

1. The characters' appearances always reflect their inner selves.

 How do the characters' appearances reflect their true natures? How do
their appearances hide their true natures?
 Which features of the servants' new forms reflect their true natures?
 How is the Beast's animalistic appearance emphasized in his movements
and demeanour?
 What do the villagers' appearances tell us about them?
OR Maleficent
 How are the characters’ appearance (such as Maleficent in particular)
NOT indicative of their true selves? And how does this reflect the
subverted nature of the film?
2. Sacrifice is the essence of love in this story—the final gesture that someone
else means more than yourself.

35
  In what ways do the characters make sacrifices for others? Who are the
characters who don't make sacrifices and why?
 Is there such a thing as a meaningless sacrifice in this film? If so, which
one?
3. Identity is ultimately defined by the characters themselves, who determine
what and who they are.
 Whose identities change during the course of the film? Whose stay the
same?
 Does the ability to change identities speak well or ill about the
characters who do? Why or why not
Suggested Extension Questions:
1. How is the written fairytale similar to Disney's movie? How are they
different? Why do you think there were differences between the movie and
the original fairytale?
2. When the townspeople hear a Beast is living outside their village, they are
quick to organize an angry mob who will march to the castle and harm the
Beast. Why do you think the townspeople were afraid of the Beast? Why
would they want to hurt him? What could the townspeople do instead of
use violence?
3. Bell is seen as "odd" and "strange" in her town. Why do you think the
villagers see Bell as different from them? When you meet someone who is
different from you, how do you make them feel comfortable and included?

36
References
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Appendix A – Original Unit of Work

Film Study: Fairy Tales | Stage 4 | English YEAR 7

Summary Duration
Students are to study a relatively well known appropriation or subversion of a fairy tale story though the film Detail: Term 2
Beauty and the Beast (2017) or Maleficent (2014).
2019
The goal is to examine the gender stereotypes and atypical and typical hero references through a film study.
The film, its themes and those of related texts deal with the hackneyed themes of: true love, appearances and 6 Weeks (weeks 1-6)
identity, friendship and forgiveness, being true to yourself.
Through film text and complimentary written and visual texts and examination of themes the goal is to teach
the students film techniques and the use of cinematic manipulation through a film text.

Unit overview Film Study: Beauty and the Beast

This unit is a close study of the fantasy film Beauty and the Beast (2017) OR Maleficent (2014). The film How does a moment last forever? How
draws significantly from the fairytale genre and makes references to popular culture, historical figures and can a story never die?
events, gender stereotypes. Students will analyse the director’s choice of character to establish deep
understanding of the filmmaker’s purpose. Students will examine and evaluate a range of specific devices
employed in a film to understand the cultural and historical context of this form and its place in the broader
film context. The teaching strategies employed in this unit are diverse and the learning experiences relate the
everyday lives of the students and involve a variety of activities including drama, technology, discussion,
and writing tasks with a focus on visual literacy.

39
Outcomes Assessment overview
Assessment for Learning: Create an
English K-10
imaginative response to stimulus which
› EN4-1A responds to and composes texts for understanding, interpretation, critical analysis, imaginative is reflective of the fantasy genre
expression and pleasure
Assessment for learning: investigation
› EN4-4B makes effective language choices to creatively shape meaning with accuracy, clarity and of series of still scenes from the core
coherence text of the Film Study. A close
connection to the cinematic techniques.
› EN4-5C thinks imaginatively, creatively, interpretively and critically about information, ideas and
arguments to respond to and compose texts Student reflection: COMPOSE one as
an online survey
› EN4-7D demonstrates understanding of how texts can express aspects of their broadening world and their
https://www.surveymonkey.com/survey
relationships within it

40
Content
Stage 4 - Outcome 1
Students:
Engage personally with texts
 recognise, reflect on, interpret and explain
the connections between their own
experiences and the world in texts
 consider and analyse the ways their own
experience affects their responses to texts
 explore and appreciate the aesthetic qualities
in their own and other texts and the power of
language to communicate information, ideas,
feelings and viewpoints
Stage 4 - Outcome 4
Students:
Engage personally with texts
 recognise and appreciate the ways a wide
range of texts communicate by using
effective language choices
Develop and apply contextual knowledge
 explore and analyse the ways purpose,
audience and context affect a composer's
choices of content, language forms and
features and structures of texts to creatively
shape meaning
Understand and apply knowledge of language forms
and features
 combine visual and digital elements to create
layers of meaning for serious, playful and
humorous purposes
Stage 4 - Outcome 5
Students:
Engage personally with texts
 describe and explain qualities of language in
their own and others' texts that contribute to
the enjoyment that can be experienced in
Teaching, learning and assessment Resources
Introduction Film: Shrek (Andrew Adamson, 2001)
1. Survey students’ prior knowledge through Think, Pair and
Share activity based on the following focus questions:
Online English Resources folder
 What is a fairytale?
(Greenacre) for Shrek
 How have fairytales been told?
 What is genre? What is a fairytale genre? Titled - Introduction: suggested student
work & PPT
2. A) Students, in groups of three, read a different fairytale
Fairy Tales:
 The Frog Prince,
https://safeshare.tv/x/kPcrlj5OE7k
 Sleeping Beauty,
 Puss in Boots, http://enjoy-teaching.com/enjoy-
 Rapunzel, teaching-fairy-tales.html
 Princess and the Pea,
 Little Red Riding Hood,
 Cinderella,
 Goldilocks and the three bears, STEREOTYPING
 Jack and the beanstalk, https://docs.google.com/viewer?
 The girl the fish and the crown, a=v&pid=sites&srcid=ZGVmYXVsdGR
 The Ainu and the Fox, Crow and Waterhole. vbWFpbnxm
B) On an A3 paper, the groups take notes on the characters YW50YXN5ZmlsbXN0dWR5fGd4OjUx
and key events in the fairytale. They also answer the following MzUwMzMyZjQyNmRkOWU
questions:
 Who is telling the story?
Genre definitions:
 When was it written?
 Whose point of view is represented? https://dictionary.cambridge.org/dictionar
 Whose perspective is not heard? y/english/genre
 Who is the intended audience?
 What do these fairytales reveal about the nature and
purpose of fairytales? (students should consider the
social values emphasized)
3. Appropriation & Subverted Reading Dreamtime animation
1. Teacher explains and demonstrates to the students the http://splash.abc.net.au/home#!/media/25
concepts appropriation and subverted reading. 70616/morning-stars
41
Content
responding to and composing texts
 engage in wide reading of self-selected texts
for enjoyment and share responses
individually, in pairs and/or in small groups
in a variety of relevant contexts, including
digital and face-to-face contexts
 share, reflect on, clarify and evaluate
opinions and arguments about aspects of
literary texts (ACELT1627)
Develop and apply contextual knowledge
 explore the ways individual interpretations
of texts are influenced by students' own
knowledge, values and cultural assumptions
 critically consider the ways in which
meaning is shaped by context, purpose,
form, structure, style, content, language
choices and their own personal perspective
Understand and apply knowledge of language forms
and features
 understand and use conventions of
storytelling in a range of modes and media,
eg digital storytelling
 use imaginative texts as models to replicate
or subvert textual conventions to create new
texts
Teaching, learning and assessment Resources
Appropriation is taking an image, character or technique
from one context and placing it in another or taking a
stereotyped character out of their context and putting them
in a different setting. Another form of appropriation is https://www.teachingenglish.org.uk/arti
when the composer wants the audience to view the cle/product-process-writing-a-
conventional text through an unconventional perspective. comparison Possible products: posters,
One example would be composing a fairytale where the and/or different film extracts/ trailers,
story, usually told from the knight’s point of view, is told youtube clips, postcards for identification
from the dragon’s point of view. quiz
Subverted readings and interpretations of texts involve
twisting the conventions (what usually occurs/what you
expect to occur) or the stereotypes of a well-known text. A Definitions:
very common variety of subverted readings are so-called http://www.filmsite.org/filmterms1.html
fractured fairy tales. In these fairy tales the characters or
conventions are changed. The most common convention
of fairytales to be subverted is the happy ending, for
example, in The Three Little Pigs the ending could have
Spot the Genre:
the wolf climb down the chimney and capture the three
https://www.tes.com/teaching-
little pigs (Which is a happy ending for the wolf!)
resource/spot-the-genre-6130889
2. Students in their groups then rewrite their selected
Choice of graphic organisers to collect
fairytale by applying appropriation and subverted reading.
Students should consider using a storyboard or prose to brainstorm data on appropriations
present their adaptation. http://www.inspiration.com/visual-
learning/graphic-organizers

Prior Viewing Task

1. Students read two detailed accounts of Beauty and the
Beast or Sleeping Beauty. Students compile a log book
detailing:
 Summarise the plot – the main events of the story and
Little Red Riding Hood, Three Little Pigs
The Wolf's Story: What Really Happened
to Little Red Riding Hood by Toby

42
Content
Stage 4 - Outcome 7
Students:
Engage personally with texts
 explore and analyse the ways in which
personal experiences and perspectives shape
their responses to texts
 draw on experience to consider the ways the
'real world' is represented in the imaginary
worlds of texts, including imaginative
literature, film, media and multimedia texts
Understand and apply knowledge of language forms
and features
 analyse the ways that language features such
as modality are used to represent individual,
shared or disparate views of the world
 analyse how combinations of words, sound
and images can create particular
perspectives of the same event or issue such
as environmental sustainability
 analyse and understand the ways techniques
of representation in multimodal texts are
used to present alternative views of the
world, people, places and events
Teaching, learning and assessment Resources
what was the turning point. Forward, Izhar Cohen (Illustrator)
 Description of the main characters – use adjectives to
describe each character *provide a choice of graphic organisers
 Description of the setting – use key adjectives to collect brainstorm data on
 Indicate the main morals or themes of the fairytale appropriations
using examples/quotes from the text. http://www.inspiration.com/visual-
learning/graphic-organizers
2. Teacher presents to the class PowerPoint detailing ‘Film Morning Star video and study guide
Techniques’. Students should compile a list of basic
http://splash.abc.net.au/home#!/media/25
techniques to establish their understanding of how film
techniques relay a visual story. 70616/morning-star
3. Homework: Students take three pictures of either people
or objects and identify three different visual techniques
and there effect.
4. Students in pairs create a movie poster based on their
reading of their chosen text/ fairy tale and incorporating
visual techniques in their poster.
Film Study: Beauty and the Beast/ Maleficent
1. Class watch the film Beauty and the Beast/ Maleficent
2. Students compile a list of similarities and differences http://en.copian.ca/library/research/plc/pa
between the written version of the fairy tale, for example, ge8.htm
as told in 1756, in French by Madame Le Prince de In a table with a comprehensive list of
Beaumont and the 2017 film. real and fictional characters classify
3. Make a list of the ways in which this story differs from the according to mythical or real.
film and a list of the ways in which it is similar - in
relations to characters; plot; themes; setting.
4. Teacher select scenes/camera shots from the film to http://en.copian.ca/library/research/plc/pa
identify to the class the film techniques and their effect. ge8.htm
Character Study In a table with a comprehensive list of
real and fictional animals classify
1. Teacher divides the class into groups of 3-4 and allocates
43
Content Teaching, learning and assessment Resources
according to mythical or real.
one character for the group to create a character profile.
(use A3 paper, once the groups complete their profile they
should then present their work to the class and the class
can take notes.) Characters that students can focus on:
Beauty and the Beast: Belle; Maurice; Beast; Gaston; This link focuses on film techniques. It
LeFou; Clothilde; Jean the Potter; Pere Robert; Lumiere; also includes a poster on Shrek and
Cogsworth; Mrs Potts questions about the fantasy genre.
Maleficent: Maleficent, Aurora, Stefan, Flittle, Knotgrass, http://cdn-
Diaval media.macmillan.com.au/mea/downloadp
dfs/ 9781420229882.pdf
Character Profile
 Physical description (including dress, looks, voice)
 Personality (friendly, happy etc.)
 Actions of the character
 Interaction with other characters
 Comments on other characters
 Identify one film technique (e.g. camera angle) and
the impression that it gave of their character.

2. Appropriation & Subverted Reading Task

B&B: Imagine the film ended differently: that the mob
succeeded in capturing the castle and that Gaston
persuaded Belle to marry him. Students create some comic
strips to describe episodes in their life together. Have half
the class tell the story from Gaston’s viewpoint and have STEREOTYPES
the other half tell it from Belle’s. Display the comics in https://docs.google.com/viewer?
the classroom and discuss how the stories differ. a=v&pid=sites&srcid=ZGVmYXVsdGR
Maleficent: Create an animation (or a comic strip) to vbWFpbnxm
change the ending of the film. YW50YXN5ZmlsbXN0dWR5fGd4OjUx
MzUwMzMyZjQyNmRkOWU
Extension Activity:
Students given the opportunity to re-enact a scene and a SIMPSONS
character’s portrayal. They can try to film this scene if they access http://www.simpsoncrazy.com/characters
the required resources or simply perform it to the class.
44
Content Teaching, learning and assessment Resources
1. After watching the film students make a list of the
immoral actions and the praiseworthy actions taken by
different characters.
2. Class identify three popular female and three male
characters. Were the characters mainly villains or good
characters.
3. Students decide which character they prefer from the film
and identify their reasons
4. In groups of four, students pretend that they are one of
these characters (Belle, Beast, Maleficent, Aurora). They
write a script and perform a drama which deals with the
decisions taken by them. They can change the story as
much as they like. Some ideas to help them, for example
in B&B: Should Mrs Potts really be pleased for Belle to
be a prisoner or should she help her to escape? Should
Maurice leave his daughter to rot in the Beast’s castle and
take his own freedom?
OR can we describe Maleficent an evil character?
5. Reflection questions to consider after their performance:
What were the moral decisions you had to make? Did the
characters always choose the right option? If you had been
in role as yourself would you have made the same choice?
What were the consequences if a bad decision were made?

The Setting
1. Beauty and the Beast is set in a small town in France
called Villeneuve. Class discuss how they may have
guessed that this film was set in France. Study some of the
names using a dictionary find out the meaning of Lumière,
Le Fou and Belle.
http://en.copian.ca/library/research/plc/pa
Maleficent: How is the setting of the film significant to ge8.htm
the fairytale genre?
2. Students create a collage of different settings in their
chosen film and identify how each setting affects the
45
Content Teaching, learning and assessment Resources
story. It can help set the mood, influence the way
characters behave, affect the dialogue, foreshadow events,
invoke an emotional response, reflect the society in which
the characters live, and sometimes even plays a part in the
story.
The Themes of Beauty and the Beast and Maleficent

1. Students identify the themes of their chosen film

B&B: love, appearances, identify and exile.
Maleficent: power, greed, love (familial)
2. Next to each theme they should write down at least two
incidents from the film that illustrate that theme.
3. They should, in groups of 3, create a visual representation
of a scene/ storyboard from the film that highlights that
theme. In their image they should apply at least 3 film
techniques. Camera position; what is happening; what is HARE AND THE TORTOISE
being said; sound effects http://www.english-for-
students.com/The-Hare-and-The-
Tortoise.html
Suggested Questions Relating to the film’s themes:
LION AND THE MOUSE
4. The film suggests that real love means seeing the true
http://www.storyarts.org/library/aesops/st
person within instead of just what's on the outside.
 In what specific ways do the characters express their ories/lion.html
love for each other in this film?
 Why is Gaston's idea of love actually not close to love
at all? What aspects make it different from the Beast's ANT AND GRASSHOPPER
love for Belle? Do the servants love the Beast? How? http://www.eastoftheweb.com/short-
Does that differ from Belle's love? stories/UBooks/AntGra.shtml
http://www.lavideofilmmaker.com/filmm
 OR What idea of love is portrayed in the character of aking/film-techniques.html
Maleficent?
Filmic techniques quiz:

5. The characters' appearances always reflect their inner Shots - long, close up, medium,

46
Content Teaching, learning and assessment
selves.
 How do the characters' appearances reflect their true
natures? How do their appearances hide their true
natures?
 Which features of the servants' new forms reflect their
true natures?
 How is the Beast's animalistic appearance emphasized
in his movements and demeanour?
 What do the villagers' appearances tell us about them?
OR Maleficent
 How are the characters’ appearance (such as
Maleficent in particular) NOT indicative of their true
selves? And how does this reflect the subverted nature
of the film?
6. Sacrifice is the essence of love in this story—the final
gesture that someone else means more than yourself.
 In what ways do the characters make sacrifices for
others? Who are the characters who don't make
sacrifices and why?
 Is there such a thing as a meaningless sacrifice in this
film? If so, which one?
7. Identity is ultimately defined by the characters themselves,
who determine what and who they are.
 Whose identities change during the course of the film?
Whose stay the same?
 Does the ability to change identities speak well or ill
about the characters who do? Why or why not
Suggested Extension Questions:
4. How is the written fairytale similar to Disney's movie?
How are they different? Why do you think there were
differences between the movie and the original fairytale?
5. When the townspeople hear a Beast is living outside their
village, they are quick to organize an angry mob who will
march to the castle and harm the Beast. Why do you think
47
Resources
establishment, point of view, over the
shoulder, panning, dolly,
Angles - high angle, low angle, overhead,
colour - monochrome, .....
music/sound - diegetic, non-diegetic,
dialogue, body language, costuming,
props
https://www.google.com.au/search?
q=film+techniques+crosswords&safe=strict&rl
z=1C1GGRV_
enAU753AU753&source=lnms&tbm=isc
h&sa=X&ved=0ahUKEwihoMDN7fHX
AhXFXbwKHSNCA2YQ_AUICigB&bi
w=1024&bih=472#imgrc=fE4ZchgJmof
msM:
https://www.google.com.au/search?
q=venn+diagram+template&safe=strict&rlz=1
C1GGRV_enAU753AU753&tbm=isch&tbo
=u&source=univ&sa=X&ved=0ahUKEw
ju5uyN7_HXAhUCkJQKHf8HC90QsA
QIJw&biw=1024&bih=472#imgrc=iPMk
smJNm3xUcM:
EDWARD de BONO
http://www.debonogroup.com/six_thinki
ng_hats.php
Content Teaching, learning and assessment Resources
the townspeople were afraid of the Beast? Why would
they want to hurt him? What could the townspeople do
instead of use violence?
6. Bell is seen as "odd" and "strange" in her town. Why do
you think the villagers see Bell as different from them?
THE FROG PRINCE
When you meet someone who is different from you, how
do you make them feel comfortable and included? http://www.eastoftheweb.com/short-
7. In this film, "things aren't always what they seem to be". stories/UBooks/FrogPrin.shtml
Students write an exposition to argue the importance Scootle resources
looking beyond face value. Film study: school playground TFL-ID
8. Write an exposition on how Fairytales teach important L9933
values to children.
http://www.scootle.edu.au/ec/resolve/vie
w/L9933

Character creation in book and film TFL-

ID M017298
http://www.scootle.edu.au/ec/resolve/vie
w/M017298

Writing a review - book and film TFL-ID

M016146
http://www.scootle.edu.au/ec/resolve/vie
w/M016146
ENCHANTED PRINCESS
http://chestofbooks.com/fairy-
tale/Russian/The-Enchanted-
Princess.html
Lights, camera, action: camera:
assessment TFL-ID L8471

48
Content Teaching, learning and assessment Resources
http://www.scootle.edu.au/ec/resolve/vie
w/L8471
Lights, camera, action: lighting TFL-ID
L2846
http://www.scootle.edu.au/ec/resolve/vie
w/L2846

Evaluation

49
Content Teaching, learning and assessment Resources

50
Appendix B original scope and sequence

51
 200
CONTENT OUTCOMES
TERM 1 EN4-1A
DRAMA EN4-3B
NOTE: drama has been taking out of the reconstructed scope EN4-5C
and sequence because it is covered in year 8 and you only need EN4-7D
to cover drama once in stage 4
Focus Text: Scrambled Eggs by Sue Murray (Weeks 1-5)

Text Types:
- Play script
- Print texts - Digital texts
Heroes- Speeches (Weeks 6-11)
Text Types: EN4-2A
EN4-3B
- Print texts
EN4-5C
- Digital texts EN4-7D
- Media
- Visual texts - Multi-media
TERM 2
EN4-1A
(weeks 1-6) EN4-4B
FILM Studies and Fairy Tales EN4-5C
Text focus Beauty and the Beast or Maleficent EN4-7D

Text Types: - Fiction -Film

- Print texts - Media
- Multi-media - Digital texts
-
PICTURE BOOKS: Illustrative Telling Tales: Visual Literacy
(Weeks 7-10)
EN4-2A
Focus Texts: Big Rain Coming by Katrina Germein and EN4 3B
EN4-7D
EN4-8D
Graphic Novel: The Hobbit by J. R. R. Tolkien
Text Types: - Visual texts - Print texts

TERM 3
POETRY: Heal The World- Social and Environmental Stability in Poetry
EN4-5C
(Weeks 1-4) EN4-3B
Focus Text/s: It was Long Ago, Icarus Allsorts, Equal EN4-6C
Opportunity, Enjoy the Earth Gently, There’s a Dragon, We Must EN4-7D
Protect the Countryside, Our Tree, Death of a Tree, Rainforest, EN4-8D
My Moccasins have not Walked, Freedom and anti-war lyrics and
speeches.

Text Types: - Poetry - Spoken texts

- Print texts - Digital texts and
- Multi-media
Fiction: Dancing with Shakespeare EN4-1A
(Weeks 5-10) EN4-2A
Focus Text/s: Students will study a range of adaptations. EN4-3B
Text Types: - Fiction - Film EN4-5C
EN4-7D
- Print texts - Visual texts
- Media - Multi-media
- Digital texts
TERM 4
NOVEL: A Journey through Literature (Weeks 1-8)
Focus Text: A Monster Calls by Patrick Ness EN4-1A
EN4-3B
Text Types: EN4-4B
- Fiction - Film - Digital texts 52
EN4-5C
- Visual texts - Media - Multi-Media
EN4-9E
 Hours

Mode: Weighting:
Film Study: Fairy Tales
Reading and Writing 30%
Notification Date:
Assessment Date: Time:
7th May 2019 th
20 Monday, 2019 (Week 4) 1 hour 30 minutes
Tuesday

Appendix C Original
Assessment Notification

Stage 4 Year 7

English
53
 Assessment Notification – 2019

OUTCOMES BEING ASSESSED

› EN4-4B makes effective language choices to creatively shape meaning with accuracy, clarity and
coherence
› EN4-5C thinks imaginatively, creatively, interpretively and critically about information, ideas and
arguments to respond to and compose texts
› EN4-3B uses and describes language forms, features and structures of texts appropriate to a range of
purposes, audiences and contexts
› EN4-2A effectively uses a widening range of processes, skills, strategies and knowledge for
responding to and composing texts in different media and technologies

TASK DESCRIPTION

 Your half-yearly exam will be 1 hour and 30 minutes in the school hall. You will be given 5
minutes reading time, and 1 hour and 25 minutes working time.

 You will be assessed on your ability to apply your knowledge in persuasive techniques, film
techniques, fairy tales and your persuasive writing skills.

 The exam will consist of three sections.

o Section 1 – Short answer response – unseen speech (5 marks)
o Section 2 – Short answer response – film techniques (10 marks)
o Section 3 – Extended response – persuasive writing (15 marks)

 The recommended time to be used for each section is:

o Section 1 – 15 minutes
o Section 2 – 20 minutes
o Section 3 – 50 minutes

Important Notes:

1. You are expected to answer in BLUE or BLACK pen only.

2. If you are absent on the day of the assessment task, you must provide a note explaining your
absence for every day that you were away. This note needs to be handed in to your classroom
teacher during your first English lesson back after your absence. The note needs to include a
day time contact phone number for the person who wrote the note. Failure to do this may
result in you being awarded zero for this task.

TASK RUBRIC
You will be assessed on how well you:
54
 Identify and analyse persuasive techniques
 Identify and analyse film techniques
 Understand and explain concepts regarding the fairy tale genre
 Engage with the conventions and expectations of persuasive writing

55