1. Make certain that you LINK to the text – this is non a new thought. so if you forgot to make that. you’ve immediately lost rather a few Markss. It can be a brilliant piece of composing. but if you haven’t linked to the text. you can snog a good tierce of your Markss goodbye I reckon. – You can associate OVERTLY – that is. utilize a character or set in 1930?s Australia to research the struggle b/w white colonists and autochthonal Oz ( One Night The Moon. evidently! ) – or more SUBTLY – utilizing landscape metaphors from the movie – but I’d still put some truly clear links in at that place such as utilizing quotation marks from duologue or the poesy to do it superclear. DON’T RETELL THE STORY! ! ! !
2. Don’t merely Rewrite a piece you’ve planned before – spend a good TEN MINUTES be aftering out the IDEAS of the prompt. because this is portion of the standards – you have to demo you’ve thought out a good response to the prompt. Use equivalent word to assist you perplex it out and work out your reaction to it.
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3. In an expository. believe 1/3 nexus to texts. 2/3 everything else – draw on existent life experience. the intelligence. history etc to back up what you say. And don’t even reference any illustrations in the intro – merely reply the inquiry in 4/5 lines. explicating your thought. IN each paragraph. start with the large thoughts foremost – the conceptual material – and so back up with difficult grounds. Here’s another ‘One Night The Moon’ piece that I modelled on a piece of travel composing on Iceland… . it can be a good thought to mime the construction of something else you’ve read and enjoyed in order to pull out the thoughts of the prompt. ‘Landscapes give us a sense of belonging’
“They make their campfires down by the brook. I wouldn’t go down at that place at dark – I surely know I’m non welcome” growled the laconic. crusty station proprietor that we’d hired to take us to the bosom of cattle state. His manus was big and scarred. clearly used to the handling of large animate beings out here. constructing stock fencings and no uncertainty butchering them to set nutrient on the tabular array for his household. It was the first thing he’d said in about an hr and he clearly felt strongly plenty about these people on his land – yes. I know that the impression of ‘his’ is a small fuzzy given recent treatment about land ownership and Mabo’s conflict in the high tribunals. I wonder what the Autochthonal population would state about his warning. I wonder if they truly would turn him out of cantonment. It brings to mind those old black and white etchings of indigens with lances on one leg – you know the garden decoration stereotypes that ardorn suburban Melbourne gardens and bastardize any existent impression of what it means to be an Autochthonal individual in this state – I mean. how demeaning! I can admit how threatened the British felt. geting on boats after hebdomads – months – at sea. holding travelled from one side of the universe to the other. It wouldn’t have precisely felt like a welcoming party.
I bet there were many work forces and adult female believing about the white drops of Dover and wishing that they’d ne’er said adieu to the green Fieldss of England. the land that had held them since they were babes and that they grew up knowing was theirs. All that hereditary connexion to put must be a pretty thinly stretched cord over 10 thousand stat mis or so of sea. I wonder if that’s what many who have tried to settle here have been believing of all time since – that one twenty-four hours. the inkinesss are traveling to come over that hill or around that river bed and do them travel back to where they came from. As if reading my head. Jim oinks ‘My male parent is buried over there’ . He nods toward a little and bare grave pace. There are two markers – one must be the good wife’s. and I don’t inquire why Jim doesn’t reference her. It’s a man’s state. after all – he wouldn’t be able to gestate giving recognition to a adult female who probably bore adequate kids to vouch some sort of ownership in the territory. There is likely even a bar named after her. if she’d fulfilled her community responsibilities right.
I wonder if she let her pull the leg of play down by the brook or maintain them indoors and schooled them about Europe and a land they would ne’er trust to see. ‘He came out from London in the late 1880’s. Couldn’t ain land in England but if you look around you. he signed on the flecked line for all you can see. Throw the indigens out. But they kept coming back. Turfed one off my belongings the other twenty-four hours – runing my bloody chooks he was’ . Now looking around me. I feel a spot uncomfortable about all this.
I look at Jim and in some ways he fits in good here. His custodies are stained ruddy from the dust that seeps into every cleft and nook here and I know he’s worked difficult to do this land wage. It’s non an easy life. and when I was making my research before I came. I’d found out three local husbandmans had killed themselves because they merely couldn’t run into the payments demanded from the Bankss. So I know Jim’s earnt it. as has his male parent ( Macquarrie Street. on the east side of town. is named after his household. who were one of the original colonists here ) . Even the manner Jim walks through the land shows he means concern. and the stones and trees seem to flex under his swagman when he walked me out to the arresting Sussannah Gorge that was named so after his great grandma. His house excessively. stands strong and white in the center of a paddock. I’m so used to seeing these old homesteads with corrugated Fe roofs. broad gallery and a mangey Canis familiaris lying exhausted in the dorsum of a rusty ute carcase that it doesn’t occur to me. when I foremost see it. that it might non belong here. This land is in fact palpably entwined with narratives like Jim’s.
Read any Henry Lawson narrative and they’ll describe a adult male who has apparently battled with the land to do a life. be it gilded excavation or cattle mustering or excavation. You can still run into these sort of characters in any saloon in any remote town. Anybody who has of all time been read The Drovers Wife can conceive of being isolated while their adult male is off droving wild bush Equus caballuss and determining the myths of this formidable land of ours. I can about see Clancy of the Overflow. merely like Banjo Patterson did. in the ‘vision spendid of the sunlit plains extended’ . And expression at Red Dog. a narrative of a kelpi. the cattle Canis familiaris of Australian myths who searches for his lost maestro – these are the narratives we know and love. These are the narratives that connect us to our topographic point. It gives us a great sense of national pride. a existent sense of belonging. to read these narratives and cognize it’s about us and who we are.
But when Jim’s completing demoing my around – and I take in a gorgeous view of a aboriginal gorge that cuts its manner through stones that were formed at the beginning of clip. the butcheries with their metallic malodor of blood and the lowing of cowss waiting for decease because Gillard hasn’t managed to work out a solution to the Indonesian exports. and the dike that is deplorably merely 10 per centum full. doing the hegira of many to wetter climates – I have clip to see someplace rather particular. that makes me believe that a sense of belonging doesn’t ever intend a warm cosy feeling or a sense that every stone and tree is yours because a piece of paper says it is. I spend five hours boosting to a topographic point that began as a rumour after oppugning some locals about autochthonal cave pictures. ‘Yeah – I think there might be some up Slaughter Creek’ . the local misss out the forepart of the IGA drawled. ‘it’s a long hiking. but. for a coupla handprints’ . they laugh. eyeing off my clean metropolis boots.
Picking my manner gingerly along thin waies that turn upward through crisp and sanguinous drop faces. I end up at the oral cavity of a immense cave created by old ages of eroding of the soft limestone that the local country is made of. At my dorsum stretches a position to decease for – if they could acquire a house up here. it’s be a million dollar vision – all shimmering blue with gums in the heat and the extremum of Mt Sterling in the distance. It strikes my psyche and. as is typical for this state. I am awestruck by the deepness of visible radiation and sweep of infinite that could sell anyone a trip here. But it’s the cave that intrigues me.
The custodies painted on these walls are all forms and sizes – some bantam. some large – man’s hands that would hold shown the kid how to rub the ocher into the thenar and to the fingertips and topographic point the manus fondly against the cool stones. I can about hear their voices piercing through the thin head covering of clip that hides their universe from mine. He would hold held onto his kid. taught it everything he knew about the land and the animate beings and the narratives of this topographic point that his male parent before him would hold taught him.
The vision of those white canvass of the so called first fleet would hold been centuries in the hereafter. Never would he hold thought to state his male child that this land might non be theirs merely one twenty-four hours. Nor would he hold thought that the cool Waterss of the brook bed below would be place to his ascendants castanetss. marked with gunshot lesions. Never would he hold thought that his children’s kids would be taken off from them and raised with this touch of painted custodies or the fume of campfires.
Never would he hold imagined that his posterities would hold to warrant their topographic point here in a tribunal. that they might be losing their clasp as a civilization on the land that had nurtured them from when the rainbow snake awoke the dormant universe of gum trees and pouched mammals. I wonder if Jim thinks about that sometimes. I know he’s been up here. because he told me the manner was excessively difficult to be worth the fuss. I wonder if sometimes. when he sees those campfires firing. that he worries that possibly he doesn’t belong here after all. that his clasp on the land is tenuous. I can see why he keeps edifice fencings – it’s non to maintain them out. but it’s to maintain him steadfastly in. If he marks his district. possibly they’ll allow him maintain it.
Successful Creating and Presenting requires you to portion your positions on The Imaginative Landscape. Whether you choose to compose in an expository. persuasive or inventive manner. the key is to see the elements within your nominative school text and how it explores and conveys thoughts on landscape. The stuff that follows is designed to acquire you believing conceptually about what landscape means. our relationship with our landscape and the factors that can ‘shape’ our internal landscape. Auxiliary texts have besides been included to assist you develop your thoughts as you work towards your written response.
After a long winter aren’t we all waiting for the opportunity to acquire back to the beach and experience the Sun on our organic structures and merely loosen up? Singer Jack Johnson knows that experiencing good: “When this universe is excessively much/It will be/Only the ocean and me/ When my canvass go up/Mountains fade away/Stars come out/I’m eventually free/Now it’s merely the ocean and me. ” There is something about the beach and the manner it can give us a sense of peace. For others it may be the shrub ; the odor of the eucalypts and the sound of flies as they buzz about. Others may happen their ‘place’ is something less obvious – a section shop. a gym category or a topographic point on the school ellipse. *Where is that topographic point for you?
*List 5 elements of that topographic point that make it your sanctuary.
*Who is with you in your sanctuary?
One Night the Moon
There are three positions on landscape within the movie ; the Father. the Mother and the Tracker. In reacting to the prompt it would be of import to compare and contrast the positions presented through narrative and ocular elements. The Father. Jim. views the land with a sense of pride and ownership. He sings. ‘Bank interrupting down my neck/They won’t take it away’ . It is his land. he’s worked difficult to do it livable for his household and no 1 will state him what to make. His interior landscape before his girl disappears is one of ferocious finding and the impression that a successful place means a successful adult male. The position of the Tracker is non one of land ownership but belonging.
The movie highlights the Aboriginal position that ‘This land is me…My being is where I belong. ’ His respectful fear for his landscape gives him a sense of belonging and security and he proclaims. ‘You merely fear what you don’t understand. ’ It is these conflicting positions of their landscape and the manner they feel about their landscape that finally causes the decease of the Father’s girl. It is his belligerency and nil more that prevents the Tracker from happening her. The Father’s interior landscape of masculine bluster and ‘white fella’ stolidity ends in farther calamity when he takes his ain life. The values and influences that ‘shaped’ his interior landscape. ‘You earned your staff of life. said your supplications well…God was good. black was ne’er white’ have non provided him with the get bying mechanisms he needs to cover with the calamity. He doesn’t know anything any longer. ’
Possible Ideas for Writing
1. Write a travel article on one of the locations in the texts. state Cape Breton. Your intent it to capture its enigma and landscape.
2. Write a persuasive piece for a newspaper where you argue that long-run detainment in Australian detainment Centres will do irreparable harm to them.
3. Write a address given at end-of-year assembly where you promote your fellow pupils to see the uncertainnesss and challenges in front of them as portion of life’s journey. You may wish to include your chosen text into the address or reflect upon their experiences and what they learn.
4. Write a missive as one of the characters from your chosen text. Express how you feel about go forthing home/returning place. LOVE for the land and the significance of it — reciprocally held but with profound differences by both autochthonal people and white husbandmans — is at the nucleus of this intercrossed musical and modern opera. The music path is woven throughout this extremely ocular narration. The indispensable narration of One Night the Moon is the play of a white Australian agriculture household and race dealingss in the 1930s. Yet the inventive landscape of the movie expands to embrace both the emotional experience and besides the symbolic resonance of Aboriginal Dreaming and a religious or mystical attack to the land. Narratives of the land formation and their cultural and religious significance are the bosom of autochthonal civilization. The significances of land and people’s relationship with it are evoked throughout the tragic class of this movie. Both Aboriginal traditional knowledge and codified white jurisprudence underpin the narrative. action and subjects. Within that frame the relationships of race. human connexion and belonging are played out.
Sight and Imagination — Outer Landscapes
The external secret plan is simple. embracing the point of views and ‘‘landscapes’’ of three characters — the Father. the Mother and the Tracker. The narrative is straightforward. yet the symbolism is rich and the emotional experience potent throughout the movie. On a fighting outback farm in the thirtiess. a immature white kid. Emily ( Memphis Kelly ) . is mesmerised by the full Moon and climbs out the sleeping room window. traveling towards it. Her male parent Jim ( Paul Kelly ) sets up a hunt party but hostilely refuses to let the engagement of an Aboriginal tracker. Albert ( Kelton Pell ) .
Albert’s cognition and individuality are rejected. based on racial bias. In reaction. Albert throws in his function with the white constabulary and resigns. Rose ( Kaarin Fairfax ) . the distraught female parent. declinations Jim’s roseola determination and its ineffectual consequences. and re-engages Albert. Together they set out to happen Emily. but it’s excessively late ; they find merely her castanetss. Jim’s life is destroyed by sorrow. and he shoots himself in desperation. For each individual the brilliant ocular landscape of the Flinders Ranges carries different significances. and different positions on belonging and place. infused with their emotional reactions. Each character is depicted in relation to the undulating landscape. and spends clip rolling within it and contemplating it.
Sound and Imagination – Inner Landscapes
The round construction of the movie and the repeat of the cardinal vocals and musical subjects evoke forms. found besides in landscape and in life itself. Music. runing from the fast-paced strings of Mairead Hannan’s composings to Kev Carmody’s soft tunes. contributes to the elegiac and melancholic temper of the movie. and carries us into the emotional lives of the characters. The paths of Irish twine music are traditional in their ain manner and another portion of the Australian ethnic and cultural composing. Songs underpin the narrative and subjects. Several cardinal vocals emerge as linkages to the most powerful minutes and subjects for the three chief characters. One Night the Moon
The first sequence and images raised prefigure the concluding sequence of the movie. But the first major vocal sequence — One Night the Moon — is a cradlesong shared by female parent and kid as they lie together in the familiarity of bedtime. The ‘‘calling’’ Moon evokes the impetus into slumber. but besides gives rise to a sense of the power of the elements and the inventive authority of landscape. The cradlesong stirs the imaginativeness of the kid Emily. who so responds to the seduction and magnetic pull of the full Moon. It is a symbolic and elemental reminder of the Earth as female parent. gently obliging the inventive and funny kid. full of the impulse to research and larn. It seems benign and soft. maternal. an extension of the female parent — as it is across the fabulous spectrum of many civilizations. The inner and outer landscapes of the kid come together in this compelling scene. This Land is Mine ; This Land is Me
This vocal immediately and brightly announces and encapsulates the differences between black and white responses and attitudes to set down and landscape. For Jim. the land he has struggled over truly belongs to him and he ferociously announces that the bank ‘‘won’t take it away’’ . For Albert. the land is his really being. it embodies him and his spirit in ways that are redolent but intensely hard for white people to deeply comprehend or accept. The traditional knowledge — the Dreaming — is evoked in the images. both expansive and intensive of the elements and landscapes ; here through the medium of movie. as it is in autochthonal art and picture.
Imagination and Experience
I Don’t Know Anything Anymore
Conflict takes topographic points between the characters and between the land and the characters. Jim’s stiff and proprietorial attitude leads to the dislocation of his matrimony and the loss of his household. and the significance of his whole life. Rose. his married woman. becomes distant as she can non portion her uncertainty and fright with him when he rejects the best chance of cognition and aid. His ain hunts yield nil. and become internal hunts every bit good. and in desperation he turns to alcohol.
There is ambivalency towards the land here ; the land compels us with its beauty and magnificence. and the nutriment it provides for both autochthonal people and husbandmans. but it is huge and unsafe every bit good. if non understood. valued and respected. In this aspect One Night the Moon reminds us of Picnic at Hanging Rock and the eerie and destructive potency of the elements. but this movie is about rapprochement with the Earth and the Other. The ‘‘imaginative landscape’’ is an amalgam of the actual and metaphoric. the outer and the inner. The calamity is that Albert could hold found Emily in clip to salvage her. had Jim been more unfastened. less stiff in his attitudes to set down and race. At the stopping point of the movie. after the rich strains of Albert’s married woman ( Ruby Hunter ) singing ‘‘Oh Breathe on Me Breath of God’’ at the bush entombment. the calamity comes full circle to the gap image — the desperation of Jim. and his life-denying stance. Moonstruck
The movie ends with Moonstruck as Kev Carmody sings — ‘‘Spirit of the Moon it calls me home’’ . Merely as the Moon called small Emily. it asserts its power once more. but the temper of the shutting vocal is one of regard for the Moon. and harmoniousness with the elements and landscape conveying a sense of religious nutriment. belonging. security and peace. The white calamity of single household loss of life raises the possibility of empathy with an full people’s loss of lives. tradition and civilization under white colony. arousing loss as an indispensable human experience. regardless of race. And the symbolic meeting of Albert and Rose. and incorporate intent of black and white. is a powerful symbol of rapprochement — every bit good as sheer practicality and common sense — and regard for traditional autochthonal cognition and accomplishments. One Night the Moon was made in 2000. the Year of Reconciliation and of symbolic Marches and span crossings.