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MAIN CHARACTERS
Margo Channing played by Bette Davis
As the protagonist of the movie, Margo Channing is a genuine and real actress raised by the theatre since the age of three. She is a vulnerable character who openly displays her strengths and weaknesses; Mankiewicz showcasing the life of a true actress through her. Initially, we see Margo as mercurial and witty, an actress with passion and desire (not motivated by fame but the true art of performing). She is the lead in successful plays and with friends like Karen and Lloyd to rely on and a loving partner, Bill, it seems that she has everything.
However, Margo’s insecurities haunt her; with growing concerns towards her identity, longevity in the theatre and most importantly her relationship with Bill. Eventually, in a pivotal monologue, Margo discusses the problems that have been plaguing her. She battles with the idea of reaching the end of her trajectory, the thought that ‘in ten years from now – Margo Channing will have ceased to exist. And what’s left will be… what?’ By the end of the movie, Margo accepts the conclusion of her time in the theatre and understands that family and friends are what matters most, not the fame and success that come with being an acclaimed actress.
Eve Harrington played by Anne Baxter
Antagonist of All About Eve, Eve Harrington (later known as Gertrude Slojinski) is an egotistical and ambitious theatre rookie. With a ‘do-whatever-it-takes’ attitude, Eve is first introduced to the audience as a timid and mousy fan (one with utmost dedication and devotion to Margo). However, as the plot unfolds, Eve’s motive becomes increasingly clear and her actions can be labelled as amoral and cynical, as she uses the people around her to climb the ladder to fame.
Margo is her idealised object of desire and from the subtle imitations of her actions to infiltrating and betraying her close circle of friends, Eve ultimately comes out from the darkness that she was found in and takes Margo’s place in the theatre. Mankiewicz uses Eve’s character to portray the shallow and back-stabbing nature of celebrity culture; Eve’s betrayal extending beyond people as she eventually turns her back on the world of theatre, leaving Broadway for the flashing lights of Hollywood.
Addison DeWitt played by George Sanders
The voice that first introduces the audience to the theatre, Addison DeWitt is a cynical and manipulative theatre critic. Despite being ambitious and acid-tongued, forming a controlling alliance with Eve, Addison is not the villain.
The critic is the mediator and forms a bridge between the audience, the theatre world, and us; he explains cultural codes and conventions whilst also being explicitly in charge of what we see. Ultimately, Addison is ‘essential to the theatre’ and a commentator who makes or breaks careers.
Bill Simpson played by Gary Merill
Bill Simpson is the director All About Eve does not focus on Bill’s professional work but rather places emphasis on his relationship with Margo. He is completely and utterly devoted to her and this is evident when he rejects Eve during an intimate encounter. Despite having a tumultuous relationship with Margo, Bill proves to be the rock; always remaining unchanged in how he feels towards her.
Karen Richards played by Celeste Holmes
Wife of Lloyd Richards and best friend and confidante to Margo Channing, Karen Richards is a character who supports those around her. During conversations she listens and shares her genuine advice, acting as a conciliator for her egocentric friends. Unfortunately, Karen is also betrayed by Eve, used as a stepping stone in her devious journey to fame.
Lloyd Richards played by Hugh Marlowe
Successful playwright and husband to Karen Richards, Lloyd Richards writes the plays that Margo makes so successful. However, as Margo grows older in age, she begins to become irrelevant to the plays that Lloyd writes. Subsequently, this causes friction between the two characters and Mankiewicz uses this to show the audience the struggles of being an actress in the theatre; whilst also adding to the Margo’s growing concern towards her age.
Lloyd is unwilling to change the part for Margo and thus Eve becomes a more attractive match for the part. An unconfirmed romance between the budding actress and Lloyd also adds to the drama within All About Eve.
MINOR CHARACTERS
Birdie played by Thelma Ritter
A former vaudeville actress (which means that she acted in comic stage play which included song and dance), Margo’s dresser and close friend, Birdie is not afraid to speak the truth. Initially she sees right through Eve’s story and she warns Margo to watch her back. Despite not being in much of the movie, Birdie’s critical eye is a foreshadowing for the audience towards what is to come.
Max Fabian played by Gregory Ratoff
Producer in the theatre, Max Fabian is involved in theatre just to ‘make a buck’. He is a hearty character who adds comic relief to a dramatic plot.
Miss Claudia Caswell played by Marilyn Monroe
Aspiring actress, Miss Caswell is seen briefly throughout the movie to show the audience the shallow nature of the world of show business. Unlike Eve, she relies on her appearance to ‘make’ it rather than talent; as seen during her encounter with Max and the unsuccessful audition that followed.
Phoebe played by Barbara Bates
The next rising star to follow in Eve’s footsteps, Phoebe is featured at the end of the film. In this scene there is a foreshadowing of the future, which suggests a repeat of the past, thus, making Phoebe an interesting character to observe. She is a manufactured construction of an actress and illustrates how replaceable a character is in the world of theatre.
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Text Response can be difficult because there are many different aspects of the text you need to discuss in an intellectual and sophisticated manner. The key points you need to include are stated in the VCAA Text Response criteria as shown below:
the ideas, characters and themes constructed by the author/director and presented in the selected text
the way the author/director uses structures, features and conventions to construct meaning
the ways in which authors/directors express or imply a point of view and values
the ways in which readers’ interpretations of text differ and why.
We have explored some of the different criterion points in past blog posts, but this time we’ll be focusing on number 3,
the ways in which authors/directors express or imply a point of view and values.
Views: How the author sees something
Opinion
Perspective
Way of thinking
Impression
Observation
Values: How the author thinks about something
principles
moral
ethics
standards
In VCE, simply exploring themes and character development is not enough to score yourself a higher-graded essay. This is where discussion on ‘views and values’ comes in. Essentially this criterion urges you to ask yourself, ‘what are the author’s beliefs or opinion on this particular idea/issue?’ All novels/films are written to represent their author’s views and values and, as a reader it is your job to interpret what you think the author is trying to say or what they’re trying to teach us. And it’s not as hard as it seems either. You’ve instinctively done this when reading other books or watching movies without even realising it. For example, you’ve probably walked out of the cinemas after thoroughly enjoying a film because the ideas explored sat well with you, ‘I’m glad in Hunger Games they’re taking action and rebelling against a totalitarian society’ or, ‘that was a great film because it gave insight on how women can be just as powerful as men!’ Therefore, it is possible in this case that the author of this series favours the disintegration of tyrannical societies and promotes female empowerment.
Views and values are also based on ideas and attitudes of when it was written and where it was set – this brings both social and cultural context into consideration as well. Issues commonly explored include gender roles, racial inequality, class hierarchy, and more. For example, Margaret Atwood’s Cat’s Eye, is set during the 20th century and explores feminism through women’s roles during World War II while Emily Bronte’sWuthering Heights depicts the divide between social classes and challenges the strict Victorian values of how society condemns cross-class relationships, in particular between Catherine and Heathcliffe.
Questions to ask yourself when exploring views and values:
Is the author supporting or condeming/critising this idea?
Through which literary devices are they supporting or condemning/critising the idea?
Which characters represent society’s values? Which ones oppose them? Do we as readers favour those that represent or oppose society’s values?
Does the author encourage us to support the morals and opinions displayed by the characters or those supported in that setting/time?
Here’s a sample discussion on the author’s views and values:
‘…Dickens characterises Scrooge as being allegorically representative of the industrial age in which he lived. Scrooge describes the poor as ‘surplus population’, revealing his cruel nature as he would rather they die than having to donate money to them. Dickens critiques the industrial revolution whereby wealth lead to ignorance towards poor as the upperclassmen would easily dismiss underclassmen, feeling no responsibility to help them as they believed they were of no use to society. ‘ (A Christmas Carol, Charles Dickens)
Here’s a list of some sample essay prompts you may get in regards to exploring ‘views and values’:
‘Cat’s Eye shows us that society’s expectations are damaging to women.’ To what extent do you agree? (Cat’s Eye, Margaret Atwood)
‘Bronte criticises the social class conventions of her time as she demonstrates that those in the lower classes can succeed.’ (Wuthering Heights, Emily Bronte)
‘Social criticism plays a major role in A Christmas Carol.’ (A Christmas Carol, Charles Dickens)
‘Hamid shows that it is difficult to find our identity in modern society, with the ever-changing social and politics surrounding us.’ (The Reluctant Fundamentalist, Mohsin Hamid)
‘In Ransom Malouf depicts war as the experience of grief, loss and destructive waste. The event of war lacks any heroic dimension. Discuss.’ (Ransom, David Malouf)
Nine Days by Toni Jordan is currently studied in VCE English under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.
Contents
Summary
Main Characters
Themes, Ideas and Values
Literary Devices
Essay Topics
Essay Topic Breakdown
1. Summary
Jordan’s novel traces the tumultuous lives of the Westaway family and their neighbours through four generations as they struggle through World War II (1939-45), the postwar period of the late 1940s and 50s, the 1990s and the early 2000s. Composed of nine chapters and subsequently nine unique perspectives of life, their family home in Rowena Parade, Richmond, becomes the focal point for Jordan’s exploration of femininity, masculinity, family and Australian society.
2. Main Characters
Kip Westaway
'Mr. Husting always says first impressions count' (p. 5)
'Mr. Husting holds his other hand out flat and instead of an apple there’s a shilling.' (p. 6)
'I own the lanes, mostly. I know the web of them, every lane in Richmond.' (p. 21)
'When they put me in the grave, I know what it’ll say on the stone, if I get a stone, if they don’t bury me like a stray cat at the tip' (p. 29)
'I didn’t say goodbye to Dad! On account of a book' (p. 158)
'This photo won’t be out of my sight from now on. You’ve given me my sister back, Alec.' (p. 260)
Francis Westaway
'THE SHADOW CANNOT BE DEFEATED!' (p. 145)
'The toughest gang in Richmond! And they want me, Francis Westaway!' (p. 155)
'I see a purple jewel hanging on a gold chain. It’s a beaut, the prettiest thing I’ve ever seen…There’s no way I’m sharing this. It’s mine.' (p. 174)
'Do you understand how sensitive a reputation is? It’s up to me to be respectable. I’m the eldest. It’s my responsibility.' (p. 200)
Connie Westaway
'Ma sitting with her dress lifted up to her face, Connie on her knees beside her, holding her arms, cooing soft like Ma is a baby.' (Kip, p. 35)
'We women do what’s expected. You [men] can do almost anything you care to think of.' (p. 280)
'It seems that all my life I’ve had nothing I’ve desired and I’ve given up having desire at all. Now I know what it feels like to want and I will give anything to have it' (p. 285)
'I thought we’d have more time than this. We’ve only just made it.' (p. 290)
Jean Westaway
'Those moments, when [Kip] reminds me of Tom. I have to leave the room. The fury rises up my legs and up my body like a scream and it’s all I can do not to let it out.' (p. 212)
'We all die alone' (p. 212)
'This is not how I imagined it to be. Children. Mothering.' (p. 212)
'And for things like this, for girls like Connie and saving her future, there is a respectable woman who runs a business in Victoria Street' (pp. 221-222)
'I’d never of done it with boys but Connie, she was different.' (p. 239)
'we’re respectable people.' (p. 218)
Tom Westaway
‘Kipper’s old man…dropped off the tram in Swan Street somewhat worse for a whiskey or three and hit his head. Blam, splashed his brains all over the road. A sad end.’ (Pike, p. 24)
‘As a girl I had plenty of suitors, but none like Tom. Best behaviour in front of my father, children all brought up in the church by him.’ (p. 212)
Stanzi Westaway
‘The parcel is for Stanzi: inside is an old-fashioned coin, dull silver, with a king’s head on one side. It has a silver chain threaded through a hole in the middle. Stanzi looks like she’s about to cry.’ (Alec, p. 254)
‘She doesn’t mean to be hurtful. She is worries for me, that’s all…if she really thought I was in terrible trouble, she would be gentler.’ (Charlotte about Stanzi, p. 126)
‘the oblivious insouciance of the entitled’ (p. 51)
Charlotte Westaway
‘I say the question over and over: should I keep the baby?’ (p. 142)
‘The herbs are evidence of an understanding of our place in the universe…an acknowledgement of the delicate balance in our bodies…’ (p. 116)
‘There was only one place I could go: my sister’s’ (p. 124)
‘They contain all the hopes of the human spirit, all the refusal to quit, to keep believing people can feel better’ (p. 116)
Alec Westaway
‘Yet here I am. Away from home in a world of strangers. Alone. Forgotten.’ (p. 241)
‘This waiting for my life to start, it’s driving me mental.’ (p. 244)
‘I don’t sketch. Instead I concentrate on the scene the scene in front of me so I can remember it later.’ (p. 251)
Libby Westaway
‘All the things I remember, everything about my life, our family, my childhood: it’s all real because Libby knows it too.’ (Alec, p. 273)
Jack Husting
‘I can see both sides.’ (p. 80)
‘Just let me kiss you, Connie. I’d die a happy man.’ (p. 284)
Ava and Sylvester Husting
‘If we have to send boys to fight…it’s layabout boys with no responsibilities, the Kip Westaways of the world, who ought to be going.’ (Ava, p. 102)
‘That shilling. Our little secret. Gentlemen’s honour.’ (Sylvester, p. 8)
Annabel Crouch
‘You’re a good girl, Annabel.’ (Mr. Crouch, p. 177)
‘I’d like to compliment their dresses, but I don’t know what to say.’ (p. 190)
Mr. Crouch
‘He is killing himself, I know that. I won’t have him for much longer.’ (Annabel, p. 207)
‘No mother, no brothers. Working your youth away, looking after an old man.’ (p. 179)
3. Themes, Ideas and Values
Family
Quotes
‘Family house, family suburb, family man’ (Charlotte about Kip, p. 140)
‘Stuck here…looking after your old man. You should have a family of your own by now.’ (Mr. crouch to Annabel, pp. 178-179)
‘No mother, no brothers. Working your youth away, looking after an old man.’ (p. 179)
Analysis
The theme of family is a recurring one that develops over time. Jordan’s inclusion of other families such as the Crouches, the Churches, the McCarthys and the Stewarts stands in contrast to the Westaways. The juxtaposition of family life in this way allows the reader to see how such factors like wealth, class and reputation can affect the family dynamic especially within the war period. The idea of family is strained by the pressures of war because with many families' sons and husbands away it left the other family members to adopt other roles - not only physically, but the conventional emotional roles of traditional families of the time are redistributed, specifically within the Westaway household. Jordan postulates that the role family plays in providing emotional/physical support is of far greater importance than the necessity to abide by society's idea of what family should look like.
Women and Reproductive Rights
Quotes
‘I tell her about shame and the way it’s always the women who wear it. I spare her nothing. I say loose women and no morals and I say bastard and I say slut.’ (Jean, p. 220)
‘You don’t have to have it, you know.’ (Stanzi, p. 132)
‘Your body, your choice…That’s what our feminist foremothers fought for’ (p. 134)
‘What if he wanted to know his child, doesn’t he have the right?’ (pp. 133-134)
Analysis
Jordan highlights the controversial issues of premarital sex, abortion and the rights of women within the mid 20th and early 21st century. Indeed, it is this theme of women that becomes inextricably linked with the effect of a damaged reputation. When Connie falls pregnant, Jean implores that she has an abortion, in secret of course, in order to preserve her and her family’s reputation within the small community. The issue of abortion is later revisited when Charlotte becomes pregnant in the 1990s, where the contrast between the time periods becomes evident; while unplanned pregnancy is greatly stigmatised in the 1940s, the 1990s offers Charlotte a far wider array of options. It is through Jordan’s depiction of the two cases – Connie’s horrific backyard abortion, and Charlotte’s adjustment to parenthood – that she suggests the perceptions and attitudes towards morality, reputation and women have shifted over time, emphasising the importance of reproductive rights in the development of women.
Masculinity
Quotes
‘I remember coming home from school once, crying. I would have been around six or seven. I was picked last for some team. That was me, the kid without a father.’ (Alec, p. 262)
‘”Westaway,” Cooper says. “Get in. For once in your life, do not be a pussy.”’ (p. 267)
Analysis
Within the parameters of her text, Jordan articulates how men conform or reject masculine tropes in an effort to fit into society. Toughness, bulling and unsavory activity are presented as the characteristics of a man through such depictions of Mac and his gang. In its connection to the war period, the novel partly focuses on the notion that in order to be classified as a man he must first go through struggle and hardship as presented in the group of strangers taunting Jack, ultimately bullying him into certain ideals of masculinity which prove toxic and consequential - Jack dies as a result. It is Jordan who advocates for a balanced personality of both ‘masculine’ and 'feminine’ characteristics as suggested in the character development of Kip; evolving, learning and devising a true meaning of what it means to be a man outside of its conventional brutality.
Attitudes Towards Asia
Quotes
‘She is with a customer or sweeping the floor with a broom made from free-range straw that died of natural causes or singing Kumbaya to the wheatgrass so it is karmically aligned.’ (Stanzi, p. 50)
‘The fear of the Nips coming made him a better man.’ (Annabel, p. 178)
‘always wanted to go to India [to study yoga] at a proper ashram.’ (pp. 132-133)
‘She makes her eyes go big and round like some manga puppy’ (p. 264)
Analysis
Through both overt and subtle language, Jordan makes reference to the attitudes towards Asia which were prevalent at the time, specifically within the war period that saw many Australians ‘[fearing] the nip’. The derogative slang used for the Japanese represents a lack of understanding and fear (the bombing of Darwin and attack on Sydney left many feeling particularly vulnerable to the Japanese). Exacerbated by the fact that Japanese culture was not widely understood and was often misrepresented, the Japanese were stereotyped as brutal and inhuman. Over the course of the novel, attitudes towards Asia dramatically shift especially within the early 1990s of Stanzi and Charlotte's generation. The philosophical ideas of the east are often referenced by characters like Charlotte as she draws on them to make sense of her own complex life. The novel sees another shift in ideology represented through Alec as his generation's perception turns to a more commercial view. Asian culture has earned a place in mainstream media and western life without such gruesome and violent connotations as were previously held during the time of World War II.
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4. Literary Devices
Allusion
Throughout her perspective driven text, Jordan makes many references to classic novels which help create a literary context for the narrative and lend themselves to the evolution of the characters throughout the course of the text.
Alexandre Dumas’ The Three Musketeers – Kip’s characteristic trait of heroism when he sees the gang waiting for him and says ‘on-bloody-guard, d’Artagnan’ (p. 22)
Charles Dickens’ Great Expectations and Mark Twain’s Huckleberry Finn – both coming-of-age stories about young men struggling within a tough world, only getting by on their wits and strength.
Brontë sisters' Jane Eyre and Wuthering Heights – their reference is used in discerning a customer’s knowledge on the texts, but reveals only a surface level understanding due to the novels carrying a certain cultural value.
Jonathan Swift’s Gulliver’s Travels – referenced by Jack Husting in relation to his adventures in the country. Its use pertains to how Jack feels out of place in his home town after leaving a boy and returning a grown man.
Genre
A historical novel that plays with ideas of placing invented characters into a reconstructed world of the past.
Uses elements of both realism and impressionism to create the text.
Realist Elements:
A strong focus on everyday life within a particular society with reference to real historical detail.
Incorporates a logical and strong foundation of context that can be easily digested and believed by the reader.
Can use an omniscient narrator (all-knowing).
Impressionist Elements:
Each chapter offers detail and presents a vivid interpretation of specific events.
Sensory experiences are emphasised by the use of descriptive and poetic language.
The linear flow of the narrative is disrupted by its construction in a non-chronological order, thereby forcing the reader to piece the whole narrative together at the end.
Language
Varied depending on the character’s perspective and time of perspective.
Language is used to historicise each chapter through use of slang, colloquialisms, formal and proper English.
Setting
The novel revolves around the Westaway’s family home in Rowena Parade, Richmond over the course of four generations.
Rather than them move or the location change it evolves, paralleling the growth and evolution undergone by each of the Westaway family members.
Structure
Inspired by a photograph in the collection of Argus war photos held at the State Library of Victoria, Jordan uses this image capturing a private and intimate moment to establish the premise for each of the book's chapters.
Titled Nine Days and composed of nine unique perspectives on life at a given time, Jordan offers insight into the emotional livelihood of each narrator and attaches both intimate and historical significance to their stories.
5. Essay Topics
Toni Jordan’s Nine Days describes a world in which life in the 1930s and 40s was much harder than life in the 21st century. Do you agree?
In Nine Days, older Kip’s point of view is very unrealistic. To what extent do you agree?
Toni Jordan’s Nine Days shows us people can choose whether they end up happy or not. Discuss.
The mood by the end of Nine Days is ultimately uplifting and positive. Do you agree?
There is more tragedy in Nine Days than there is joy. To what extent do you agree?
Nine Days, by Toni Jordan, shows the best and worst of Australian culture. Discuss
Jordan suggests that appreciation of family is integral to personal happiness. Discuss.
'Your body, your choice.' What do the different experiences of Connie and Charlotte reveal about changing societal attitudes towards women?
There are many characters who are largely hidden figures within the text. What significance is produced by including and excluding different perspectives?
6. Essay Topic Breakdown
Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy - a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response because it’ll dramatically enhance how much you can take away from the following essays and more importantly, your ability to apply this strategy in your own writing.
Within the THINK strategy, we have 3 steps, or ABC. These ABC components are: Step 1: Analyse Step 2: Brainstorm Step 3: Create a Plan
THINK How-based prompt: How does Nine Days explore the relationship between the past and the present?
Step 1: Analyse
This is a ‘how’ essay prompt, so in our planning, we need to identify the ways in which the author accomplishes their task. When analysing your question it is important to know what the question is asking of you, so make sure you highlight the keywords and understand their meaning by themselves and in the context of the question. For example, this question is not just asking about the past and present, but rather the connection between the two - so if you discussed the past and the present separately you wouldn’t be answering the question.
Step 2: Brainstorm
Brainstorming is different for everyone, but what works for me is focusing on the key idea, which here would be the relationship between the past and the present, and listing my thoughts out. Not all the ideas will be as equally relevant/good, but I like to have things written down to then improve or simply not use in favour of other ideas.
Past → Present: Westaway family home, the house changes as the family grows Past → Present: Connie’s tragic abortion compared to Charlotte’s options in the 1990s, women’s rights evolving over time Past → Present: Melbourne becoming more multicultural, Alec’s chapter reveals how Melbourne has changed compared to chapters set in earlier times Past → Present: Kip teaching Alec to cherish those in front of us after seeing Connie’s picture Past → Present: Second World War contrast to 9/11 and war in Afghanistan
Now that I have all my ideas listed out I choose my strongest three to flesh out. There are different things that make an idea strong, but the things I consider are: - Do I have enough evidence to support this idea? - Is the idea substantial enough to turn into a whole paragraph? - Do I have an author’s views and values statement? - Can I include context or metalanguage into this idea?
Using the questions above, I decided to use the following ideas: - Westaway family home, the house changes as the family grows (symbolism) - Kip teaching Alec to cherish those in front of them (focus on characterisation) - Melbourne becoming more multicultural (can talk about historical context)
Step 3: Create a Plan
Contention: Through the use of setting and characterisation, Jordan’s Nine Days reveals how the past and present are interconnected. P1: Westaway home embodying the familial connection P2: The past is not completely separate from the present, it teaches us lessons that are pertinent to contemporary life (Alec) P3: Melbourne becoming more multicultural
If you found this helpful, then you might want to check out our A Killer Text Guide: Nine Days ebook which has an A+ sample essay in response to this prompt, complete with annotations on HOW and WHY the essay achieved A+! The study guide also includes 4 more essay topic breakdowns and sample A+ essays, detailed analysis AND a comprehensive explanation of LSG’s unique BBT strategy to elevate your writing!
LSG-curated All the Light We Cannot See Essay Topics
Contrary to what the title might suggest, All the Light We Cannot See explores light more so than darkness. Is this true?
How does Doerr’s narrative structure highlight the similarities and differences between Marie Laure and Werner in All the Light We Cannot See?
All the Light We Cannot See demonstrates that war brings out the best and worst in humanity. Discuss.
Explore the forms of courage demonstrated in All the Light We Cannot See.
What is the role of family in All the Light We Cannot See?
Werner’s character is defined by his cowardly and harmful conformity to the Nazi regime. To what extent do you agree?
All the Light We Cannot See is a warning against unethical and selfish scientific pursuits. Discuss.
Who deserves our sympathy in All the Light We Cannot See and why?
Throughout All the Light We Cannot See, various forms of guilt are shown to be emotionally crushing. Is this true?
“Don’t you want to be alive before you die?” Explore the value and meaning of human life as evinced in All the Light We Cannot See.
No character from All the Light We Cannot See is totally monstrous, just as no character is totally pure. Do you agree?
In All the Light We Cannot See, Doerr suggests that nobody truly has agency over themselves. Discuss.
More so than any other object, it is the radio which drives the plot of All the Light We Cannot See. Is this an accurate statement?
All the Light We Cannot See posits that strength must come from within. Discuss.
“Open your eyes and see what you can see with them before they close forever.” To what extent do characters exhibit this sentiment in All the Light We Cannot See?
All the Light We Cannot See is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.
Go Went Gone revolves around an unlikely connection between a retired university professor, Richard, and a group of asylum seekers who come from all over the African continent. While he’s enjoyed a life of stability and privilege as a white male citizen, the lives of these asylum seekers could not be more different: no matter where they are in the world, uncertainty seems to follow. Richard initially sets out to learn their stories, but he is very quickly drawn into their histories of tragedy, as well as their dreams for the future.
However, the more he tries to help them, the more he realises what he’s up against: a potent mix of stringent legal bureaucracy and the ignorance of his peers. These obstacles are richly interwoven with the novel’s context in post-reunification Germany (more on this under Symbols: Borders), but bureaucracy and ignorance are everywhere - Australia included. This novel, therefore, bears reflection on our own relationship with the refugees who seek protection and opportunity on our shores - refugees who are virtually imprisoned and cut off from the world.
Richard ultimately realises that these men are simply people, people who have the same complexities and inconsistencies as anyone else. They sometimes betray his trust; at other times, they help him in return despite their socio-economic standing. The end of the novel is thus neither perfect nor whole - while the asylum seekers develop a relationship with Richard and vice versa, neither is able to entirely solve the other’s problems, though both learn how to be there for each other in their own ways. We don’t get many solutions to everything the refugees are facing, but what we end up with is a lesson or two in human empathy.
The title of Jenny Erpenbeck’s novel Go Went Gone is a line she weaves into a couple of scenes. In one example, a group of asylum seekers in a repurposed nursing home learn to conjugate the verb in German. In another, a retired university professor reflects on this group, about to be relocated to another facility.
2. Themes
Privilege
The various privileges Richard holds shape his identity in this text. It shapes how he approaches his retirement for example: now that “he has time”, he plans to spend it on highbrow pursuits like reading Proust and Dostoyevsky or listening to classical music. On the other hand, the asylum seekers sleep most of the time: “if you don’t sleep through half the morning, [a day] can be very long indeed.” Richard has the freedom to choose to spend his time on hobbies, but the asylum seekers face a daunting and seemingly-impossible array of tasks. After getting to know them more, he realises that while his to-do list includes menial things like “schedule repairman for dishwasher”, the refugees face daunting socio-political problems like needing to “eradicate corruption”.
Freedom in general is a useful way to think about privilege in this text, and besides freedom to choose how you spend your time, this can also look like the freedom to tell your story. While Richard helps the men with this to some degree, even he has a limited amount of power here (and power can be another useful way of thinking about privilege). Richard realises that “people with the freedom to choose…get to decide which stories to hold on to” - and those are the people who get to decide the future of the refugees, at least from a legal perspective.
Empathy
Though Richard can’t necessarily help with these legal issues, he finds himself doing what he can for the refugees over time. He demonstrates a willingness to help them in quite substantial ways sometimes, for example buying a piece of land in Ghana for Karon and his family. In the end, we see him empathising with the refugees enough to offer them housing: though he is not a lawyer, he still finds ways to use his privilege for good and share what he can. He taps into his networks and finds housing for 147 refugees.
The tricky thing with empathy though is that it’s never one-sided, not in this book and not in real life either. It’s not simply a case of Richard taking pity on the refugees - we might think of this as sympathy rather than empathy - but he develops complex, reciprocal and ‘real’ friendships with all of them. This can challenge him, and us, and our assumptions about what is right. When Richard loses his wallet at the store, Rufu offers to pay for him. He initially insists he “can’t accept”, but when he does Rufu doesn’t let him pay him back in full. Erpenbeck challenges us to empathise without dehumanising, condescending or assuming anything in the process.
It’s an interesting way to think about social justice in general, particularly if you consider yourself an ‘ally’ of a marginalised group - how can we walk with people rather than speak for them and what they want?
Movement
Freedom of movement is sort of a form of privilege, but movement as a theme of its own is substantial enough to need a separate section. There are lots of different forms of movement in the novel, in particular movement between countries. In particular, it’s what brought the refugees to Germany at all, even though they didn’t necessarily have any control over that movement.
Contrast that with Richard’s friends, Jörg and Monika, who holiday in Italy and benefit from “freedom of movement [as] the right to travel”. Through this lens, we can see that this is really more of a luxury that the refugees simply do not have. Refugees experience something closer to forced displacement, rather than free travel, moving from one “temporary place” to the next often outside of their control. In this process, their lack of control often means they lose themselves in the rough-and-tumble of it all: “Becoming foreign. To yourself and others. So that’s what a transition looks like.”
3. Symbols & Analysis
Language and the Law
Many of the barriers faced by the refugees are reflected in their relationships with language; that is, their experiences learning German mirrors and sheds light on their relationship with other elements of German society. For example, there are times when they struggle to concentrate on learning: “It’s difficult to learn a language if you don’t know what it’s for”. This struggle reflects and symbolises the broader problems of uncertainty, unemployment and powerlessness in the men’s lives.
The symbol of language often intersects with the symbol of the “iron law”, so these are discussed together here. It’s hard on the one hand for these men to tell their stories in German, but it’s also hard for the German law to truly grapple with their stories. Indeed, Richard finds that the law doesn’t care if there are wars going on abroad or not: it only cares about “jurisdiction”, and about which country is technically responsible for the refugees. In this sense, the law mirrors and enables the callousness which runs through the halls of power - not to deter you from learning law if you want though! This might just be something to be aware of, and maybe something you’d want to change someday.
There’s one law mentioned in the novel stating that asylum seekers can simply be accepted “if a country, a government or a mayor so wishes”, but that one word in particular - “if” - puts all the power in lawyers and politicians who know the language and the law and how to navigate it all. These symbols thus reflect power and privilege.
Borders (+ Historical Context)
Throughout the novel, there’s a sense that borders between countries are somewhat arbitrary things. They can “suddenly become visible” and just as easily disappear; sometimes they’re easy to cross, sometimes they’re impossible to cross. Sometimes it’s easy physically, but harder in other ways - once you cross a border, you need housing, food, employment and so forth.
This complex understanding of borders draws on the history of Germany, and in particular of its capital Berlin, after World War II. After the war, Western powers (USA, UK, France) made a deal with the Soviet Union to each run half of Germany and half of Berlin. The Eastern half of Germany, and the Eastern half of Berlin, fell under Soviet control, and as East Germans started flocking to the West in search of better opportunities (sound familiar?), the Soviets built a wall around East Berlin. The Berlin Wall, built in 1961, became a border of its own, dividing a nation and a city and changing the citizenship of half of Germany overnight. Attempts to escape from the East continued for many years until the wall came down in 1989, changing all those citizenships right back, once again virtually overnight.
This history adds dimension to Erpenbeck’s novel. Refugees pass through many countries, but Erpenbeck draws on Germany’s history specifically as a once-divided nation itself. This helps to illustrate that national borders are just another arbitrary technicality that divides people, at the expense of these refugees.
Bodies of Water
One motif that comes back a few times in the novel is the drowned man in the lake by Richard’s house. This has a few layers of meaning.
Firstly, the man drowns despite the lake being a perfectly “placid” body of water, and for whatever reason, this bothers Richard immensely: “he can’t avoid seeing the lake”. There’s an interesting contrast here to be drawn between this one death in a still body of water and the hundreds of deaths at sea that are recounted in the novel. Rashid’s stories are particularly confronting: “Under the water I saw all the corpses”. Erpenbeck questions the limits of human empathy - whose deaths are we more affected by, and why - through contrasting these different bodies of water, and those who die within them. Richard is more affected than most, who visit the lake all summer leaving “just as happy as they came” - but even he has his limits with how much he can see and understand.
The next layer of meaning with this symbol then is more around the surface of the water itself: it is significant that in Rashid’s story, the casualties are below the surface. This reflects the common saying, “the tip of the iceberg” - the survivors who make it to Europe are really just the tip of the iceberg, only representing a fraction of the refugee experience. Often, that experience ends in death. Erpenbeck asks us to keep looking beneath the surface in order to empathise in full.
Music and the Piano
This symbol is specific to Richard’s relationship with Osarobo, to whom he teaches the piano. There’s one scene where this symbolism is particularly powerful, where they watch videos of pianists “us[ing] the black and white keys to tell stories that have nothing at all to do with the keys’ colours.”
It speaks to the power of music to bring people together, and also to the importance of storytelling in any form: Rosa Canales argues the keys’ colours, and the colour of the fingers playing them, “become irrelevant to the stories emanating from beneath them”.
4. Quotes
Language
“What languages can you speak?”
“The German language is my bridge into this country”
“Empty phrases signify politeness in a language which neither of them is at home”
Privilege
“The things you’ve experienced become baggage you can’t get rid of, while others - people with the freedom to choose - get to decide which stories to hold on to”
“He hears Apollo’s voice saying: They give us money, but what I really want is work. He hears Tristan’s voice saying: Poco lavoro. He hears the voice of Osaboro, the piano player, saying: Yes, I want to work but it is not allowed. The refugees’ protest has created half-time jobs for at least twelve Germans thus far”
Borders
“Not so long ago, Richard thinks, this story of going abroad to find one's fortune was a German one”
“Is it a rift between Black and White? Or Poor and Rich?”
“Where can a person go when he doesn't know where to go?”
5. Discussion Questions
Here are some questions to think about before diving into essay-writing. There’s no right or wrong answer to any of these, and most will draw on your own experiences or reflections anyway. You may want to write some answers down, and brainstorm links between your responses and the novel. These reflections could be particularly useful if you’re writing a creative response to the text, but they’re also a really good way to get some personal perspective and apply the themes and lessons of this novel into your own life.
Where do you ‘sit’ in the world? What privileges do you have or lack? What can you do that others cannot, and what can others do that you cannot?
Think about the times you’ve travelled around the world - how many of those times were by choice? What might be the impact of moving across the world against your will?
How do you show empathy to others? How do you receive empathy from others? What is that relationship ‘supposed’ to look like?
What are some different names for where you live? How can you describe the same place in different languages or words? If you’re in Australia, what was your area called before 1788?
Have you ever learned or spoken a language other than English? What language do you find easier to write, speak and think with? How might this impact someone’s ability to participate in different parts of life (school, work, friendships etc.)?
6. Sample Essay Topics
Go Went Gone teaches us that anyone can be empathetic. Discuss.
In Go Went Gone, Erpenbeck argues that storytelling can be powerful but only to an extent. Do you agree?
How does Erpenbeck explore the different ways people see time?
It’s possible to sympathise with Richard despite his relative privilege. Do you agree?
Discuss the symbolic use of borders in Go Went Gone.
Go Went Gone argues that the law is impartial. To what extent do you agree?
“The German language is my bridge into this country.” How is language a privilege in Go Went Gone?
Who are the protagonists and antagonists of Go Went Gone?
Go Went Gone shows that it is impossible to truly understand another person’s experiences. To what extent do you agree?
In what ways do the people Richard meets challenge his assumptions about the world?
Go Went Gone is less about borders between countries than it is about borders between people. Do you agree?
7. Essay Topic Breakdown
Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy, a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response.
Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:
Step 1: Analyse
Step 2: Brainstorm
Step 3: Create a Plan
In what ways do the people Richard meets challenge his assumptions about the world?
Step 1: Analyse
This prompt alludes to certain assumptions that Richard might make about the world. If it’s hard to think of these off the top of your head, consider where our assumptions about the world come from: maybe from our jobs, our families and friends or our past experiences. Maybe there are some assumptions you’ve had in the past that you’ve since noticed or challenged.
Then it asks us how the people Richard meets challenges those assumptions. There’s no way to get out of this question without discussing the refugees, so this will inform our brainstorm.
Step 2: Brainstorm
I think some of Richard’s assumptions at the beginning come from his status: being a professor emeritus makes you pretty elite, and he can’t really empathise with the refugees because his experiences of life are so different. Part of the challenge with this prompt might be to break down what life experiences entail, and where those differences lie: particularly because it’s asking us ‘in what ways’. These experiences could be with language, employment, or personal relationships just to name a few ideas.
Step 3: Create a Plan
Because Richard’s life experiences are so vastly different, I’d contend that his assumptions are challenged in basically every way. However, I also think that his interest in the refugees exists because he knows they can challenge his assumptions. I want to use the motif of water surfaces to tie this argument together, particularly in the topic sentences, and this could look as follows:
Paragraph 1: Richard realises that he only has a ‘surface-level’ appreciation of the refugees’ life experiences.
He realises that he knows little about the African continent (“Nigeria has a coast?”)
He suffers from a “poverty of experience” which means he hasn’t had to interact with this knowledge before
His renaming of the refugees (Apollo, Tristan etc.) suggests that he still needs his own frame of reference to understand their experiences
He learns about the hardships of migration through the tragic stories of those like Rashid
Paragraph 2: He also realises that he has a ‘surface-level’ understanding of migration in general.
This comes from the fact that he has never actually moved countries; he’s only been reclassified as an East German, and then again as a German. Neither happened because he wanted them to.
On the other hand, the refugees want to settle in Europe: they want the right to work and make a living - it’s just that the “iron law” acts as a major barrier. Their powerlessness is different from Richard’s.
Part of migration is also learning the language, and Richard is initially quite ignorant about this: he observes that the Ethiopian German teacher “for whatever reason speaks excellent German”, not realising this is necessary for any migrant to survive in the new country.
We can think of this as the difference between migration and diaspora, the specific term for the dispersion of a people.
Paragraph 3: Richard is more open than most people to looking beneath the surface though, meaning that his assumptions are challenged partly because he is willing for them to be.
The symbol of the lake works well here to explain this: he is bothered by its still surface, and what lies underneath, while others aren’t
We can also contrast this to characters like Monika and Jörg who remain quite ignorant the whole time: Richard’s views have departed from this throughout the course of the novel
Ultimately, the novel is about visibility: Richard’s incorrect assumptions mean that he isn’t seeing reality, and his “research project” is all about making that reality visible.
Go Went Gone is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.
If you’ve been studying John Donne’s metaphysical poetry, you’ve probably noticed that his works are riddled with different symbols and motifs. Embedded throughout his poetry, these literary devices may seem slightly abstruse to the reader. You may find yourself asking: What do they mean? And in relation to what? Even Donne’s contemporaries failed to appreciate his poetry. The neoclassical poet John Dryden rejected Donne’s works because it “affects the metaphysics” and “perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love”.
One thing that you should understand about Donne’s romantic poetry, is that while his stark images of compasses and spheres may seem foreign to you, they were also alien to his predecessors too. So, if you’re struggling to comprehend his enigmatic poetry, not to fear! Because John Donne’s poetic peers didn’t initially get it either.
The reason for this is because Donne refused to conform to the poetic conventions of the time. The poet emerged as an idiosyncratic in the Elizabethan era, the Renaissance. Unlike his contemporaries, he didn’t employ elaborate descriptions of symbol natural landscapes, classical myths and female beauty. The reason for this was because Donne did not believe in the one-sided love and emotional frustrations that his contemporaries tried so hard to convey in such imagery.
Donne’s poetry was so different because he rejected and even openly mocked the idea of such a high-minded religious worship in literary romance. In “A Valediction Forbidding Mourning,” Donne criticises the “tear-floods” and “sigh-tempests” of the “dull sublunary lovers.”. In a similar vein, Donne satirises the “sighs” and “tears” (The Canonisation) so prevalent in Petrarchan works.
Instead, Donne advocated for a different kind of love. He espoused a love that comprised of the Body and the Soul, which was a dominant intellectual issue in the literary treatment of love in the 1590s. More specifically, Donne embraced the balance between Platonic love and the Ovidian love.
Platonic: Platonic love is essentially love that surpasses the mere sensual and physical. It is a very spiritual concept and is based on reason, affection, respect, intellect and compatibility.
Ovidian: Ovidian love
The idea of balance derived from discoveries being made about the human body during the Elizabethan era. The Renaissance was fundamentally a time of discovery (particularly in the area of science). Elizabethans believed that elements in the body needed to be balanced,
Top Tip: When you’re analysing John Donne’s poetry and writing essays, be aware of Donne’s overarching message in his romantic poetry. Most explanations about his use transcendent relationship with his lover is thus determined by obtaining a balance between the spiritual and earthly pleasures. Most examination questions will leave room for to discuss the connection between the material and the divine world! Make sure to understand this, because this is a huge component to his poetry.
Rear Window is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.
1. Summary
When most people think of Hitchcock, it’s the screeching violins from Psycho that first come to mind. Whilst he is indeed known for his hair-curling thrillers, Rear Window is a slightly subtler film which focuses not on a murderer at large, but rather a crippled photographer who never even leaves his apartment.
Our protagonist L.B. ‘Jeff’ Jefferies is portrayed by James Stewart, who was known at the time for portraying cowboys in various Western films as well as starring in an earlier Hitchcock film Rope. After breaking his leg after a racing accident, Jeff begins to spy on his neighbours, one of whom he suspects of having committed a murder.
Despite some initial misgivings, his insurance nurse Stella (Thelma Ritter) and lover Lisa (Grace Kelly) also come to share his suspicions and participate in his spying. Their contributions ultimately allow the mystery to be solved.
Intertwined with this mystery is also the rather complex story of Jeff and Lisa’s relationship. Jeff on one hand resembles the ‘macho’ men of action whom Stewart is very accustomed to playing. On the other hand, Kelly portrays a character much like herself, a refined and elegant urbanite whose lifestyle inherently clashes with that of an action photographer.
Hitchcock ultimately resolves both of these storylines in the film’s denouement.
2. Historial Context
Before getting into the nitty-gritty of the film, it is crucial to understand a bit about its historical context. As with any other text, the social conditions at the time of Rear Window’s release in 1954 inform and shape the interactions and events of the film.
Released in the post-war period, the film is undoubtedly characterised by the interpersonal suspicion which defined the era. In particular, there was a real fear in America of Communist influences and Soviet espionage - so much so that a tribunal was established, supposedly to weed out Communists despite a general lack of evidence. This practice of making accusations without such evidence is now known as the McCarthyism, named after the senator behind the tribunal.
The film undoubtedly carries undertones of this, particularly in Jeff’s disregard for his neighbours’ privacy and his unparalleled ability to jump to conclusions about them. During this era, people really did fear one another, since the threat of Communism felt so widespread. Jeff’s exaggerated interpretations of his neighbours’ actions lead him to an irrational sense of suspicion, which is in many way the basis of the entire film.
At the same time, the 1950s saw a boom in photojournalism as a legitimate profession. To some extent, this was fuelled by the heyday of Life magazine (an American weekly, as well-known then as Time magazine is today). This publication was almost entirely photojournalistic, and one of their war photojournalists, Robert Capa, is actually the basis of Jeff’s character. This explains the prevalence of cameras in his life, as well as his ability to emotionally distance himself from those whom he observes through the lens.
Another crucial historical element is the institution of marriage, and how important it was to people during the 1950s. It was an aspiration which everyone was expected to have, and this is reflected statistically - only 9.3% of homes then had single occupants (as opposed to around 25% today). People also tended to marry at a younger age, generally in their early 20s.
Conversely, divorce was highly frowned upon, and once you were married, you would in general remain married for the rest of your life. In particular, divorced women suffered massive financial difficulties, since men, as breadwinners, held higher-paying jobs, and women were only employed in traditionally female roles (e.g. secretaries, nurses, teachers, librarians). Seen in this light, we can understand Lisa’s overwhelming desire to marry and settle down with Jeff. The importance of marriage is also evident in the lives of Jeff’s neighbours; Miss Torso’s 'juggling [of the] wolves', and Miss Lonelyheart’s depression both reflect this idea.
3. Themes
Combining a basic understanding of the film’s plot, as well as our knowledge of its history, we can begin to analyse some of the themes that emerge.
Possibly the central tenet of the film is the big question of privacy. Even in today’s society, the sanctity of privacy is an important concept; every individual has a right to make their own choices without having to disclose, explain or justify all of them. The character of Doyle says almost these exact words:
'That’s a secret and private world you’re looking into out there. People do a lot of things in private that they couldn’t possibly explain in public'
The tension that Hitchcock draws upon is this other idea of public responsibility, or civic duty - that is, the need to uphold the peace and protect one’s fellow citizens from harm. These ideas clash in Rear Window, as fulfilling this civic responsibility (which for Jeff means privately investigating Thorwald) means that Thorwald’s right to privacy gets totally thrown out the window. So to speak.
Evidently, this is a major moral dilemma. If you suspect that someone has committed murder, does this give you the right to disregard their privacy and surveil them in this way? While the film doesn’t give a definite answer (and you won’t be required to give a definite answer), Hitchcock undoubtedly explores the complexity of this question. Even Jeff has misgivings about what he’s seeing:
'Do you suppose it’s ethical to watch a man with binoculars, and a long-focus lens—until you can see the freckles on the back of his neck, and almost read his mail? Do you suppose it’s ethical even if you prove he didn’t commit a crime?'
In some ways, the audience is also positioned to reflect on this question, and in particular, reflect on the paranoia that characterised and defined the McCarthy era.
Somewhat separate to these questions is the romance between Jeff and Lisa, since Hitchcock seems to keep the thriller storyline and the romance storyline separate for a large part of the film. Their contrasting lifestyles and world views present a major obstacle in the fulfilment of their romance, and the murder mystery both distracts and unites them. Hitchcock further alludes to the question of whether marriage will be able to settle those differences after all - a major example is the following scene, in which Lisa not only reveals her discovery of Mrs Thorwald’s ring, but also expresses a desire for Jeff to ‘put a ring on it’ as well:
4. Cinematography
It’s impossible to study a Hitchcock film without considering how he impacted and manipulated its storytelling. The cinematographic techniques employed in Rear Window are important ways of shaping our understanding of the film, and Hitchcock uses a wide array of visual cues to communicate certain messages.
Lighting is one such cue that he uses a lot - it is said that at certain points in filming, he had used every single light owned by the studio in which this film was shot. In this film, lighting is used to reveal things: when the lights are on in any given apartment, Jeff is able to peer inside and watch through the window (almost resembling a little TV screen; Jeff is also able to channel surf through the various apartments - Hitchcock uses panning to show this).
On the contrary, a lack of lighting is also used to hide things, and we see Thorwald utilise this at many stages in the film. Jeff also takes advantage of this, as he often sits in a position where he is very close to being in the shadows himself; if he feels the need, he is able to retreat such that he is fully enshrouded. Low-key lighting in these scenes also contributes to an overall sense of drama and tension.
Another handy visual cue is the cross-cut, which is an example of the Kuleshov effect. The Kuleshov effect is an editing technique whereby a sequence of two shots is used to convey information more effectively than just a single shot. Specifically, the cross-cut shifts from a shot of a person to a second shot of something that this person is watching.
We see this often, particularly when Jeff is responding to events in the courtyard; Hitchcock uses this cross-cut to immediately show us what has caused Jeff’s response. This visual cue indicates to viewers that we are seeing what Jeff is seeing, and is one of the few ways that Hitchcock helps audiences assume Jeff’s point-of-view in key moments.
Similarly, Hitchcock also uses photographic vignetting to merge our perspectives with Jeff’s - in certain shots, we see a fade in clarity and colour towards the sides of a frame, and this can look like a circular shadow, indicating to us that we are seeing something through a telescope or a long-focus lens.
Interestingly, a vignette is also a short, descriptive scene that focuses on a certain character and/or idea to provide us with insights about them - in this sense, it’s also possible to say that Jeff watches vignettes of his neighbours. Since this word has two meanings, you must be careful about which meaning you’re referring to.
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By the way, to download a PDF version of this blog for printing or offline use, click here!
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5. Key Symbols
As with any other text, it’s important to consider some of the key symbols that Hitchcock draws upon in order to tell his story. That being said, one of the benefits of studying a film is that these symbols tend to be quite visual - you are able to see these recurring images and this may make them easier to spot. We’ll be going through some of these key images in the final part of this guide.
One of the first symbols we see is Jeff’s broken leg, which is propped up and completely covered by a cast, useless for the time being. Because he has been rendered immobile by his leg, readers can infer from this symbol that he is also incapable of working or even leaving his apartment, let alone solving a murder mystery. The broken leg is in this sense a symbol of his powerlessness and the source of much of his discontent.
Another interpretation of the broken leg however, is that it represents his impotence which on one hand is synonymous for powerlessness or helplessness, but is on the other hand an allusion to his apparent inability to feel sexual desire. Being constantly distracted from Lisa by other goings-on in the courtyard definitely supports this theory. All in all, Jeff’s broken leg represents some compromise of his manhood, both in the sense that he cannot work in the way that a man would have been expected to, but also in the sense that he is unable to feel any attraction towards Lisa, even as she tries her best to seduce him.
Conversely, Jeff’s long-focus camera lens is a symbol of his passive male gaze, which is more or less the only thing he can do in his condition. It is the main means through which he observes other people, and thus, it also symbolises his voyeuristic tendencies - just as his broken leg traps and inhibits him, his camera lens transports him out of his own apartment and allows him to project his own fears and insecurities into the apartments of his neighbours, watching them for entertainment, for visual pleasure.
In this latter sense, the camera lens can also be understood as a phallic symbol, an erection of sorts. It highlights Jeff’s perverted nature, and the pleasure he derives from the act of observing others. Yikes.
On the other hand, Lisa’s dresses underscore the more positive parts of her character. Her initial wardrobe represents her elegance and refinery whilst also communicating a degree of incompatibility with Jeff. However, as she changes and compromises throughout the film, her wardrobe also becomes much more practical and much less ostentatious as the film wears on, until she is finally wearing a smart blouse, jeans and a pair of loafers. The change in her wardrobe reflects changes in her character as well.
Finally, the wedding ring of Mrs Thorwald is hugely significant; wedding rings in general represent marriage and commitment, and are still very important symbols that people still wear today. Specifically, Mrs Thorwald’s ring means a couple of things in the context of the film - it is firstly a crucial piece of evidence (because if Mrs Thorwald was still alive, she would probably still be wearing it) and it is also a symbol through which Lisa can express a desire for stability, commitment and for herself to be married.
There’s definitely plenty to talk about with Hitchcock’s Rear Window, and I hope these points of consideration help you tackle this film!
Test your film technique knowledge with the video below:
Ready to start writing on Rear Window? Watch the Rear Window Essay Topic Breakdown:
6. Sample Essay Topics
In Rear Window, Hitchcock suggests that everybody can be guilty of voyeurism. Do you agree?
Jeff’s attempts to pursue justice are entirely without honour. To what extent is this true?
In the society presented in Rear Window, Jeff has more power and agency than Lisa in spite of his injury. Do you agree?
Discuss how the opening sequence sets up later themes and events in Rear Window.
'Of course, they can do the same thing to me, watch me like a bug under glass if they want to.' Hitchcock’s Rear Window argues that it is human nature to be suspicious. To what extent do you agree?
Explore the role of Jeff’s courtyard neighbours in the narrative of Rear Window.
Jeff and Lisa’s roles in Rear Window, as well as that which they witness, reflect the broader societal tensions between the sexes of the time. Discuss.
'I’m not much on rear window ethics.' The sanctity of domestic privacy supersedes the importance of public responsibility. Is this the message of Rear Window?
Marriage lies at the heart of Alfred Hitchcock’s Rear Window. Discuss.
Hitchcock’s Rear Window explores and ultimately condemns the spectacle made of human suffering. Is this an accurate reflection of the film?
Rear Window argues that it is more important to be right than to be ethical. Do you agree?
'To see you is to love you.' What warnings and messages regarding attraction are offered by Hitchcock’s Rear Window?
In Rear Window, women are merely objects of a sexist male gaze. To what extent do you agree?
In what ways do Hitchcock’s cinematic techniques enhance his storytelling in Rear Window?
'When they’re in trouble, it’s always their Girl Friday that gets them out of it.' Is Lisa the true heroine of Rear Window?
Now it's your turn to give these essay topics a go! In our ebook A Killer Text Guide: Rear Window, we've take 5 of these essay topics and show you our analysis, brainstorm and plan for each individual topic. We then write up full A+ essays - all annotated - so that you know exactly what you need to do to replicate a 50 study scorer's success!.
7. Essay Topic Breakdown
Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy - a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response because it’ll dramatically enhance how much you can take away from the following essays and more importantly, your ability to apply this strategy in your own writing.
Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:
Step 1: Analyse
Step 2: Brainstorm
Step 3: Create a Plan
THINK
Film technique-based prompt:
Hitchcock’s use of film techniques offers an unnerving viewing experience. Discuss.
Step 1: Analyse
While we should use film techniques as part of our evidence repertoire in each essay, this particular type of essay prompt literally begs for it. As such, I’d ensure that my essay has a greater focus on film techniques (without concerning myself too much over inclusion of quotes; the film techniques will act as a replacement for the quotes).
Step 2: Brainstorm
Since the essay prompt is rather open-ended, it is up to us to decide which central themes and ideas we’d like to focus on. By narrowing down the discussion possibilities ourselves, we’ll 1) make our lives easier by removing the pressure to write about everything, and 2) offer teachers and examiners a more linear and straightforward approach that will make it easier for them to follow (and give you better marks!).
The ‘unnerving viewing experience’ is present throughout the entire film, so my approach will be to divide up each paragraph into start of the film, middle of the film and end of the film discussions. This will help with my essay’s coherence (how well the ideas come together), and flow (how well the ideas logically progress from one to another).
Step 3: Create a Plan
Contention: Through a diverse range of film techniques, Hitchcock instils fear and apprehension into the audience of Rear Window.
P1: The opening sequence of Rear Window employs various film techniques to immediately establish underlying tension in its setting.
P2: Through employing the Kuleshov effect in the strategically cut scene of Miss Lonelyhearts’ attempted suicide, Hitchcock adds to the suspenseful tone of the film by developing a guilty voyeur within each viewer.
P3: In tandem with this, Hitchcock ultimately adds to the anxiety of the audience by employing lighting and cross-cutting techniques in the climax scene of the plot, in which an infuriated Thorwald attempts to enter Jeff’s apartment.
If you find this helpful, then you might want to check out our A Killer Text Guide: Rear Windowebook, which has all the information and resources you need to succeed in your exam, with detailed summaries and background information, as well as a detailed analysis of all five essay prompts!
When Lisa suggested that I blog about what teachers want in their students my immediate response was “Don’t we all want the same things!” We want our students to exhibit the insight and dedication that signals a top class learner. Additionally, it is obvious that teachers want students who are interested in the subject. Interested students make interesting lessons.
However, in my pondering on this question I have realised that for me students who are willing to engage with the text and commit to the task are always preferable.
Especially in English your teachers are looking for your willingness to explore your own ideas rather than rehash what others think. Your fresh perspective is welcome in a world where it’s all been said before… (and again!)
Another thing I like to find in a student is a unique style. There’s something sincere and credible about writing that speaks with its own distinct timbre, its individual structure and its authentic voice. This is the sort of writing that has you wanting to read on rather than doggedly plodding along to the end wishing that they had stuck to the lower word limit.
I can be a touch (*ahem*) pedantic and traditional in my views. I mean I love a page that is neatly written in a legible well-formed hand. There’s no chance of missing your meaning when your teacher can see what you’re saying. And something I instil in my students if they have not come to me already equipped with it is the ability to write on alternate lines only – I need a place to comment. You need a place to edit and this layout guards against sensory overload for your marker. Being willing to pay attention to apparently trivial details like this is the difference between a good student and a top student.
10 popular questions from VCE students answered by a VCE teacher
1. My teacher says I have problems with my expression. What can I do to fix this?
Lisa has already posted one of the best ways to fix your expression: that is to read it aloud. The natural rhythms of your expression will be clearer to you and you will find that your ‘mouth’ often makes corrections as you articulate your prose.
Another excellent way to find your voice is to read quality writing. Make it a habit to read a few pages every day. You can use the books on the VCE reading lists, you can go to your local library, find classics online and look at the opinion columns in the city newspapers. The more you read the better you will be at phrasing your ideas succinctly.
2. Teachers often say, “you need to develop your essay more”. What does this really mean?
This means that you look beyond what the topic statement or prompt demands that you address and explore what it invites you to consider.
Too many students are content to skim along the surface of the text. Take a deep breath and dive right into the depths of the ideas and points of views that are proposed in each text.
Formulate your own ideas and then develop them: explain and elaborate. Pick a thematic concern in one of your texts and follow its progress through the text; that way you will understand it with greater awareness of the author’s intentions.
3. In regards to Text Response, should students be ready to write on both their texts for the exam?
I would encourage students to be prepared for both texts. Apart from the extra analysis practice you get by preparing for both texts, you can never be 100% sure that you have adequately covered all options for the type of reading and responding topic you may face.
However, if you know your text intimately, if you have explored its nuances thoroughly and are so familiar with its narrative that it’s like your best friend then, yes, going into the exam with the plan of responding to one text will be possible.
4. Is it important to make my essay ‘sound’ good by using ‘sophisticated’ language?
One of the criteria for a successful response and a regularly commented upon aspect of a successful essay is your ability to show “strong language skills”.
Having a broad vocabulary base – a word bank – will enable you to express your ideas fluently and with eloquence. Additionally, used appropriately (no Malapropisms please like the student who wrote that “parents these days pamper to their children’s every desire”) some sophisticated words will add gloss to your piece. Think of BIG words as the seasoning of your essay – there to enhance, to titillate your reader to continue, not to overpower her. This is definitely a case where “less is more”. A little advanced vocabulary adds depth and interest; too much and meaning is sacrificed to effect.
5. In regards to Writing in Context, which is the easiest form to score well in? (for example: short story, essay, poem, speech etc.)
Note: This question is no longer relevant to the current English study design.
No one form is easier than another – it depends on the strength of the individual student. Find your strengths and cater to them. Perhaps you are skilled at taking a stance and validating that position with reasoned and logical rhetoric. If so then you should consider a form of the persuasive genre. If you are an adept storyteller with a flair for creating believable characters then opt for a type of creative response.
The way to excel is more about your authenticity as a writer rather than the type of text you produce.
6.In regards to Writing in Context, would it be best to stick to a conventional essay structure or write in the form of a hybrid? (for example, merging creative with expository writing.)
Note: This question is no longer relevant to the current English study design.
This reminds me of how subjective the marking process can be. I’m not a fan of hybrids, although according to the assessors’ comments there have been some successful results by students who choose to take this approach.
I think the hybrid type of response is better suited to the practiced, confident and polished writers amongst you.
Again, your score won’t depend on the form in which you decide to write your piece but on the degree to which you satisfy the criteria.
7. How should I prepare for the exam?
You should prepare for the exam by reading and rereading, watching and watching again, thinking and challenging those thoughts. You should do this until you come to a point where you know the text so thoroughly that you are equipped with enough knowledge about the text to enable you to respond to any topic with finesse.
You should discuss the texts with your friends, your fellow students, your teachers and your tutors.
You should look at study guides and compare your ideas to those you find in the many guides available.
You should brainstorm topics and write some full-length essays under exam conditions.
8. During the exam, ideally which essays should be approached first, second and last, and why?
There’s no set way of doing the exam. Some students like to attack the part of the exam that they are most confident about first – that can save valuable time for the more challenging section. Do it the way that you feel more comfortable with.
Others find it more useful to do the hardest first and get it out of the way. One successful student I know wrote half of each essay in order and then went back and finished each. Only attempt this approach if you are super confident about your voice and your capability for each section.
9. How can I avoid ‘retelling the plot’?
Only tell the story when it is essential for explanation and elaboration. A great tip was passed on to me by a student who attends one of the bigger boys schools: to test if you are telling the story see how many of your sentences express an opinion – the key word here is opinion, obviously.
Assume that your teachers and markers know the text and use the events from your selected novels, plays or films to validate your ideas. You are required to make relevant textual reference in your discussion as a means of evidencing your thoughts, so you cannot omit all elements of the narrative – just be fussy about what you include.
10. How can I make my conclusions more interesting?
A conclusion should be just what its name implies – it should show the position that you have reached having explored the topic (question, statement, media text). One of the most tedious ways to conclude is the one in which you summarise what you have already written. Another no-no is the restatement of your introduction.
You should make your conclusion show what you have deduced after your exploration of the required task. It is appropriate and useful to comment on authorial message in the conclusion. Just this one amendment from the tired old approach will raise your score.
This guide was written by a past VCE teacher who wishes to remain anonymous. Thank you ‘VF’ for your expert advice!
Stories We Tell is a different beast to anything many of you will have encountered previously in your English studies. This blog is a continuation of the above Stories We Tell YouTube video so make sure you watch it first!
With interviews, archival footage, extradiegetic film and sound elements alongside recreated scenes, the documentary can seem very overbearing and convoluted upon first viewing. However, once you have a holistic understanding of the text a plethora of opportunity for high-level analysis and discussion presents itself. Stories We Tell is usually studied in the Australian curriculum under Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.
To begin, watch our introduction covering background and themes below:
Video Transcription
Background
Stories We Tell centres around director Sarah Polley attempting to piece together her family history. While she endeavours to understand who her mother Diane was and finally learn the identity of her biological father, Director Polley also poses a number of questions to viewers surrounding the nature of the truth and the importance of stories in our lives. The film is comprised of interviews with Diane’s loved ones, home movies from the Polley family, extra-diegetic newspaper clippings, recreated Super 8 footage and excerpts from other productions - all of which contribute to Sarah’s inquisition into the notion of truth, and demonstration that how a story is told can shape how it is received.
NB: I have used ‘Sarah’ when discussing Sarah Polley as a character, and ‘Polley’ when describing her as the director.
Themes
Truth
The idea of the truth, and what comprises it is a constant question being answered through the documentary. Before exploring Polley’s depiction of the truth, it’s important that we fully understand what the truth is. One definition characterises it as the burden of confirming with fact or reality, and with this in mind it becomes easier to appreciate and analyse the intricacies of Stories We Tell. Polley creates a distinction between universal truths - which are accepted by all as fact, and subjective truths which can vary on individual interpretations. For example, Michael conflicts with the rest of the family while discussing his relationship with Sarah after Diane’s passing. Mark details Michael’s obsession with “playing solitaire”, Susy depicts the house as one of “complete and utter disuse”, while Joanna observed him “smoking all day” and perceived Sarah as “just a little kid who nobody was looking after.” Michael, however, has fond memories of his time spent with Sarah - he believed he was “lucky to have her to look after as well as himself”, called their time together a “great period” - eventuating in him feeling “closer to [Sarah] than any of the other children.”
Individual recollections of Michael’s actions and demeanor during this period belong to each storyteller, and form the basis for what they consider to be the ‘truth’ regarding Michael and Sarah’s relationship. By presenting contrasting accounts of the same event, Polley reveals her stance on the idea of truth - being that it is entirely subjective and open to interpretation, centred around the perceptions of each individual at any moment in time. It is entirely possible that Michael did “smoke all day” and feel a sense of increased “close[ness]” with Sarah, but due to the variability of the human memory, this is impossible to state with any certainty - illustrating the fallible nature of universal truths.
Storytelling
Stories and how they are told are a constant factor during the documentary - beginning with the title, ‘Stories We Tell’ and concluding with Geoff’s admission that he and Diane did sleep together during their days acting in Montreal. For example, Polley’s use of the inclusive ‘we’ signifies her interest in storytelling on a grand scale; not merely the stories she unravels onscreen. As a result, one can argue that her purpose for the documentary extends far beyond the action captured onscreen and in fact involves Polley encouraging others to share their own stories - enabling them to “create shape out of mess” as she has done through the presentation of her own family story.
By placing Geoff’s confession at the conclusion of the documentary (and casting doubt on all of the discoveries she has made throughout Stories We Tell) Polley emphasises how storytelling allows a “clearer picture” of the past to develop - as he had previously denied any sexual history with Diane, labelling them just friends. As such his admission of a relationship with her symbolises the manner in which the truth can be “refracted” over time, leading to many “shifts and fictions” while clouding “what really happened.” Therefore, Polley reveals how storytelling can provide some semblance of closure to us, in a world where the truth is “ephemeral” and “difficult to pin down.”
Family
While Polley undoubtedly utilises Stories We Tell to express her views on truth and storytelling, fundamentally it remains a story of the Polley family, and what holds it together. The narrative begins with the ‘storytellers’ providing loving, yet somewhat conflicting recollections of Diane as Polley seeks to understand who she was. Family members buoyantly describe her as “infectious” and “enthusiastic”, while friends paint a more mysterious picture of Diane as a “woman of secrets”, alluding to her alleged infidelity. The closeness of the Polley family is evident throughout their discussion of Diane’s first marriage, universally criticising the outcome of the court case in which she was labeled “unrepentant” for “allow[ing] her desire for a career to overtop her “domestic duties” - resulting in Diane losing custody of John and Susy, which proved to be a major strain on Diane and the family.
Despite this closeness, Mark expresses his disappointment in Diane following the confirmation of Harry being Sarah’s father - detailing the she “broke the rules” and “broke a kind of taboo” when she had the affair. This is the only real example of any member of the family disapproving of Diane’s past - indicating Polley’s desire to demonstrate that families are not perfect, and bring their own faults and shortcomings. In spite of this, however, their care the family shows for one another is clearly demonstrated through their interviews with Polley, highlighting to the audience that by staying close, families can better cope with the trauma of losing a loved one and in time, be able to honour their memory by sharing their stories.
Putting it all together
While analysing the themes in isolation can provide a good foundation for success studying Stories We Tell, looking at how they interact and interrelate enables students to demonstrate their higher-order skills. Truth, storytelling and family are intrinsically linked - for example: Polley’s presentation of conflicting accounts and recollections of Diane demonstrates the complexity of her family, while showcasing her stance on the inability of individuals to find universal truths. As a result of this, the importance of storytelling is highlighted as a means to provide some understanding of our past - and how it affects us in the present and shapes who we are. Including different interpretations of the text and the context in which Polley grew up and created the text can also help to improve your writing to A+ standard - and this will be covered in the blog post that acts as a continuation of this video! *end video*
Following on from the video, the content below is an expansion upon Stories We Tell.
Author views and values
One of the golden rules of A+ essay writing is to understand that everything contained within the text is seen to be a deliberate choice by the author. With this in mind, we can start considering how Polley’s choice to include certain snippets or position footage in a particular way highlights her views.
Views
The truth is ephemeral - can it ever be known?
Throughout Stories We Tell, Polley continually emphasises the impossibility of knowing a truth with absolute certainty. Her stance is shaped by the clouded nature of her paternity and family history, exemplified within the text by the varying accounts of Diane’s personality. Portraying her as “infectious” and “enthusiastic”, Polley captures Diane dancing - cleverly lighting up her face, thus symbolising her warm nature. However, juxtaposing this is Deidre’s assertion that Diane was a “woman of secrets” - bolstered by Polley’s recreation of a covert phone call in which Diane ponders the identity of Sarah’s biological father. Through her presentation of contrasting recollections of her mother, Director Polley showcases the relativity of truth within her own family, inviting the audience to question the meaning of truth in their own lives, highlighting that “you can never get to an answer.” As a result, Stories We Tell predominantly displays the impossibility of one knowing a singular truth.
Subjective truths can be found
Continuing the theme of ambiguity within her synthetic documentary, Sarah Polley demonstrates that individuals can develop their own interpretations of the truth, in spite of her stance on the validity of singular truths. Within Stories We Tell, Polley illustrates this by depicting the contrasting recollections of Michael’s relationship with Sarah as a child. Supporting Joanna’s assertion that Sarah was “just a little kid that nobody was looking after”, Polley ironically captures a full shot of Michael in the middle of the couch, portraying him as a distinctive presence in the scene in spite of Joanna’s belief that Michael isn’t present in Sarah’s life. Conversely, Michael recalls his time with Sarah as “a great period in [his] life” - a claim reinforced by Polley, via recreated Super 8 footage of the pair assembling a snowman, symbolising their construction of a new beginning following Diane’s death. Through this interaction, Polley portrays Michael as a compassionate and loving father - juxtaposing this with Joanna’s description, revealing to her audience the ability of individuals to find subjective truths - encouraging them to do so in their own lives in spite of searching for universal truths.
The importance of stories
Building on her depiction of the truth as fallible, Polley thus emphasises our need to tell stories, illustrating how they allow one to better understand themselves, their families and the world around them. Within Stories We Tell, unearthing the ‘story’ of Diane takes centre stage for a majority of the production, and Polley hints towards this goal via her inclusion of Bon Iver’s folk ballad Skinny Love. The line “pour a little salt, we were never here” plays on the use of salt to heal wounds - implying that the storytellers aim to ‘heal’ their pain felt from Diane’s death via telling “the whole story” they have developed from their memories of her. Moreover, the phrase “who the hell was I” addresses Polley’s attempt to “form [Diane]” by piecing together the various second hand accounts and layers of connected stories from her loved ones - allowing her to ascertain a clearer understanding of her family history. Polley utilises stories to “[clear] up...the smoke” in her past,” praising the idea that such tales shed a light on areas of confusion and uncertainty - while also allowing one to “[cope]” and make sense of their heritage. Through her demonstration that stories enable individuals to move past the “small and large details that vary”, Polley prompts the audience to seek more information about their own families, and relay their own family stories.
Values
Throughout the documentary, Polley demonstrates, both explicitly and implicitly, a number of her inherent values. Drawing upon these, referring to them in your essays and (most importantly!) connecting them to your analysis of the text is a great way to get ahead of the pack and maximise your marks both in your sac and the exam.
NB: Much of the excerpts contained here are analysing specific scenes/motifs, and then linking such thinking to the theories listed below. I found this to be a coherent and structured way of including this deeper level of thinking in the publication of my own essays!
Feminist lens on the social values of 1960’s Canada
By depicting extradiegetic footage of Diane singing Ain’t Misbehavin, Director Polley provides a feminist commentary on the dominant social values of 1960’s Canada; the lyrics “I walk the streets to balance the sheets” and “what is an honest girl to do” metaphorically representing the perception of Diane by the court and wider society - denied “custody” of her children due to her “adultery.”
By inserting a newspaper clipping criticising Diane’s choice to let her “desire for a career” to supercede her “domestic duties”, Polley illustrates the difficulties faced by aspirational women in such a restrictive society - condemning the treatment of her mother while calling on female viewers to continually campaign for equality of opportunity in their societies.
Outlining the fact that Diane was not considered “ladylike”, Polley sardonically ridicules the “controlling” nature of such rigid gender stereotypes and their effect on Diane losing her children - exhibiting her desire to empower her female audience to “save [themselves]” from similar situations and “ma[ke] a choice to live.”
Postmodernist interpretation of the truth
As I’ve discussed at length in this blog post, Polley continually reminds us as an audience that the truth is not set in stone and is in fact a flexible, relative concept. Such a line of thinking directly correlates to the postmodernism literary theory - notable for being hostile to absolutes such as truth, and not creating a text in isolation.
Truth
Polley continually blurs the line between fact and fiction within Stories We Tell - an ode to the postmodernist school of thought she is following. Depicting recreated Super-8 footage capturing herself directing the actress Rebecca Jenkins who ‘plays’ the ‘role’ of the younger Diane, Polley seeks to somewhat deceive her audience as to what is real and what is derivative - prompting the audience to “consider what was real and what wasn’t… in their own minds.” As a result, she seeks to promote the validity of the postmodernist critical theory, prompting philosophical discussions between individuals about the variability of memory and whether any absolute truths can ever be truly known.
Intertextuality
Another feature of postmodernism in literature is the relationship between one text to another. In her creation of Stories We Tell, Sarah Polley exacerbates this relationship, including a number of extradiegetic elements such as newspaper clippings, emails, songs and segments from other productions in order to add greater meaning to the documentary. For example, Polley presents her email exchange with Harry, illustrating her desire for the story to include “everyone’s point of view”, as it is only then that the “whole picture” can be established. While reciting the email aloud, Polley delicately pauses when articulating that the story must include “[her] experience, [Harry’s] experience” and her “family’s [experience]”, emphasising her desire to give “equal weight” to all versions of the story.
Different Interpretations
In my experience studying the text, this documentary can be interpreted two ways:
1. as a self-reflective memoir following the journey of Sarah finding her father and gaining a more mature understanding of her mother, or;
2. A philosophical and, at-times political commentary on the way stories are told and the nature of truth. Both interpretations (and others you find or develop through your own viewing) are great to use in your writing, just ensure that they are relevant to the specific prompt/idea you are discussing!
Let's dive into each a little further:
1. Stories We Tell is a commentary on how stories are told - specifically, how the way a story is told can shape how it is received and the meaning one can draw from it
Upon first glance this point may seem rather convoluted, and several viewings of the text are necessary to fully engage with this line of thinking. Essentially, this centres around the idea that the different forms, mediums and extradiegetic elements present in the documentary can significantly influence how we as an audience react to the story that is being told.
The best way to explain this is to acknowledge the level of credibility and the associations attached to each individual medium used to tell the story.
For example, what impact does the newspaper clipping (detailing her custody battle and fight for equality in a restrictive society) have on our sympathy for Diane? Does the sense of credibility and validity drawn from an upstanding publication such as a newspaper elicit a greater sense of trust and acceptance of fact from viewers - therefore making us as an audience more inclined to view her in a positive light? Conversely, are viewers more accepting of Diane’s affair with Harry following testimony from those who witnessed her unhappiness with Michael first hand - her friends and family?
Moreover, in spite of her declaration that “equal weight” will be given to all experiences, does Polley’s use of Michael as narrator and his constant presence in the formal setting of a recording studio provide his version greater significance than Harry’s - who notwithstanding his involvement in the story as Sarah’s biological father, is resigned to providing his interview somewhat informally in a home setting, in the same vein as the rest of the storytellers?
Feel free to apply this line of thinking to other aspects of the text - such a deeper engagement with the philosophical ideas of the text are far more likely to score highly, as opposed to shallow pieces that merely discuss the storytellers in isolation - and not what they represent.
2. Stories We Tell is a commentary on the ephemeral nature of truth
The notion of truth seems to be just as much of a theme through this blog as it is in the documentary!
This is for good reason, however, as I found this to be the primary theme running through Stories We Tell, through the journey to discover Sarah’s paternity, the affair and conflict over whose story it is to tell. Truth affects a number of other ideas within the texts, such as storytelling, intertextuality, the variability of memory, production and identity - thus, using the ephemeral nature of the truth to explain why certain ambiguities exist in Harry’s “faulty” recollections, for example is an excellent way to show a greater depth of understanding of the interrelationships in the documentary.
Essay Topic Breakdown
Essay Topic from the 2018 VCAA Exam:
“To save all hurt, why not leave things as they are?”
Why does Sarah not “leave things as they are?”
Initial thoughts:
This prompt does not ask you to discuss a specific theme or character - instead it guides you toward providing an analysis on Sarah Polley’s purpose for creating Stories We Tell. While authorial intent should always be included in any text response essay, it is essential that the purpose is central in response to this type of prompt - essentially, providing points of discussion as to why Sarah is unable to “leave things as they are.”
Essay Plan:
1. Unable to leave things as they are - wanted to question the concept of traditional family structures, by contrasting the influence of biological connections and emotional relationships on her development.
I discussed the effect of both Harry and Michael on Sarah’s development - concluding that while both of them had a significant role to play in her becoming the woman she is today, Michael’s influence was significantly stronger. Polley implies this by giving him a greater voice in the documentary through his role as the narrator.
2. Unable to leave things as they are - wanted to comment on the ephemeral nature of the truth in our lives.
Central to this paragraph is Polley’s use of recreated Super-8 footage. Using three prime examples (the opening scene with Diane and Michael crossing the bridge, Polley directing the actress that ‘plays the role’ of Diane in recreated footage, and the staging of Diane’s funeral) I aim to display Polley’s postmodern perspective on the truth and how this is conveyed through her deliberate creation of Stories We Tell.
3. Unable to leave things as they are - Emphasise the importance of storytelling in our lives to gain some understanding of the past.
Due to her depiction of the truth as a “mystery of nothingness”, Polley highlights the role that stories play in our lives. Within Stories We Tell, Polley attempts to understand herself by recreating Diane’s story on screen - allowing her to create “shape out of mess” and form a clearer picture of how she became who she is. Moreover, Polley also reveals how stories enable individuals to maneuver through the “wreckage” of the truth and “recreate the past.”
Hey guys. So previously I've done a video where I talked about how to write a thousand word, a thousand, a thousand-worded essay, and one hour. And so that segues into this particular video where I'm talking about writing three essays in three hours. So if you haven't watched that video, then I'll pop it up in the comment. I'll pop it up in the card up above. I would recommend you go watch that first before you watch this, because pretty much all of the concepts that I talk about in that video, uh, I just expected details that you should know for this video. So instead of actually breaking down the essays as I did in the previous video, what I'm going to do this time is talk more so about, you know, how to actually write three essays in three hours and just not get burnt out and not die, basically. Yeah, it's that serious. So I've got a few tips for you guys, but I'll keep this short. First thing is that yes, you do want to practice at least one time writing three essays in three hours. And the reason why I say that is because inevitably there will come times where one essay will kind of overlap into another hour. And you just want to ensure that you can know how to handle those situations when we're practicing in one hour blocks. I think it's fantastic to make sure that we can do that, but then kind of like three hours and three essays is another ballgame altogether. So I would recommend at least practicing once sitting down somewhere and just smashing out the three hours worth of work, just so that you know exactly what it's going to feel like when you go into the exam. Now, most schools will actually offer a, like a mock exam for you to do so that literally could be your one practice that you just need.
But if you were like me, you might want to do it twice. So in your own time, kind of print off your own exam paper and go ahead and just set aside three hours and just do it that way. The second thing is I heavily emphasized doing reading time. So reading time is pretty much your mental thinking game going strong. And this is where a lot of your pre-work will be done before we actually go into the essays themselves. So make sure you practice reading time. It's 15 minutes before the actual exam, but in that 15 minutes, you can plan three of your essays and you can look up in your dictionary, any key words that you might want to define, or you could even look up the dictionary and try to find synonyms for particular keywords. So what I mean by that is when you open up a dictionary and you look up that word inside the dictionary, often the definition for it will have synonyms for it.
So that's like my little hack that I had when I was at school. And then the last thing I would say is just make sure you know what to do if you go over time. So, like I mentioned before, there may be situations where, you know, worst case scenario, you don't finish your essay in time. And that could be because of many reasons. But first thing for you to remember is if you're running over time, sacrifice your conclusion first, do not sacrifice your third body paragraph. I think mostly what happens is students will kind of be somewhere in the third body paragraph for that essay, but rather than skipping that and just do it a little bit of a mess to finish it up and then going into the conclusion, finish off your third body paragraph. And then just forget about the conclusion. The reason why I say that is because a conclusion is basically just the summary of what your entire essay is about.
It's not really supposed to be, to add in any new information where as your third body paragraph. You're still explaining your ideas. You're still elaborating and discussing the prompt itself. So that is way more important to get you the marks that you need than a conclusion. The next thing I would do if you're running behind is save a proofreading until very last. So in the last video I talked about doing proofreading last five minutes of every essay. But if you do not have time for that later, leave all your proofreading until the very end and, and you might find that you only have five minutes, it's true proofread all of your essays, but at least you kind of have that reassurance was that you made yourself more time to write beforehand. And so if you literally find yourself writing right up until the last minute and you can't perforate fine sacrifice that too. Now last thing is, let's just say that you have sacrificed your conclusion and you're still writing your third body paragraph right up until the very last minute. You still have at least half a paragraph to go, but you know, the first hour is over and you need to move onto your second essay. I feel like you can either approach this two ways. The first way is just finish it off, but then move on to the next one as quick as possible. And obviously your hope there is that you will finish the second essay in time within that hour. So that by the time you get to your thing, essay, you are on track again. Right? But in the other alternative that you could do, and probably one that I via towards a little bit more is just stop your third paragraph. Okay? You still have maybe five more sentences you still want to write, but just move onto your next one. I think that's kind of important because what happens is once we start running into the next hour, you will find that with your first essay, you'll run maybe five minutes into your second hour, but then you might find that you run 10 minutes into the third hour with your second essay leaving only 15 minutes to finish your third essay. And that might not be like what you want. And you might know that you just won't be able to achieve that because the third essay is maybe the hardest one that you left to last. And that's the one that usually takes you the longest. So yeah, like these are just thoughts and considerations for you guys to take away with whatever you guys do. I think just be strategic. Think about these things beforehand, because they are things that could trip you up when you are in the exam, you're stressed, you're anxious, you're under time pressure and you just need to get things done.
It might kind of make you do like bad decisions or you might do something out of the ordinary that you normally wouldn't do. But if you think about these things beforehand and think about, okay, this is what I'm going to do. If this situation occurs, then at least you kind of have some control over what's happening. And that gives you a little bit of reassurance. That is it from me. I wanted to let you guys know that because we are approaching the end of year. And I know that you guys might not need English help from me very shortly, especially when you're in year 12. I wanted to let you guys know that I do have a personal YouTube channel as well. So that's just linked up above for you. And also in the description box below. If you're interested in following me there, then go ahead and subscribe. I would really love to see you guys there and just be able to still have the connection with you guys. You know, it'd be nice to not only just have you guys on board with me for a year, and then you guys kind of disappear and do your own thing, I'd still really love to stay in contact and be able to hear how you guys are going to once you finish school. So I will see you guys next time. Bye!
Metalanguage is language that describes language. The simplest way to explain this is to focus on part 3 of the English exam – Language Analysis. In Language Analysis, we look at the author’s writing and label particular phrases with persuasive techniques such as: symbolism, imagery or personification. Through our description of the way an author writes (via the words ‘symbolism’, ‘imagery’ or ‘personification’), we have effectively used language that describes language. For a detailed discussion, see What is metalanguage?
The Secret River is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.
Summary
The Secret River is a historical novel telling the story of William Thornhill, a poor Englishman from the early 19th century who was deported and transported to New South Wales, Australia in 1806 for theft. This novel tells the story of Australia's founding and the moral choices made when Europeans colonised land that was already inhabited by Aboriginal people.
Background
During 18th century to mid 19th century, 162,000 men and women were transported to Australia, with majority from England. These people, known as ‘convicts’, had committed crimes such as larceny and robbery – acts which were considered severe offenses and demanded heavy sentences. In order to deal with the overwhelming masses of criminals, the government exported crowds of convicts to Australia to serve their term as labourers. The reason driving the deportation included an attempt to decrease poverty and crime in England while concurrently developing the British colony in Australia.
Many of the fleets from England were destined for New South Wales, Australia. Those on the fleets included the criminals, marines, and their families. Living in a penal colony, the criminals were employed depending on their various skills: farmer, boatman, servant etc. The settlers were award a ‘ticket of leave’ if they presented good behaviour during labour. This meant that settlers would become emancipists, where they were set free from the government’s sentence and could begin a life for themselves by making their own living. This suited the government’s goal for a successful and thriving colony since it would only be possible if people were to work for themselves, and not under the terrain of the government.
Although Australia was chiefly populated with Indigenous Australians, the first century of colonisation saw a drastic decline in their population. This was due to a clash of desire for the land; the native’s innate protection of their land and the white settlers struggle to declare their right to an area already inhibited by natives – possibly for 40,000 years. The two cultures failed to ever create a peace agreement or compensation and as a result, the frontier was often marked with blood. Overtime, a successful of the British colony meant that white settlement overpowered any possibility of the natives retaining their land. The Secret River’s exploration of this powerful change in Australia’s history is a poignant reflection of the past, and demands attention to the sensitive issue of Australian and native relationship that is still present today.
Setting
Set during the early 19th century. Located in London, Sydney and on the Hawkesbury.
Chapter 1: Strangers
Plot
The Alexander, a transport ship for convicts has reached New South Wales, Australia after a travelling across the world for majority of the year. William Thornhill, an Englishman convicted to sentence his ‘natural life in the Year of Our Lord eighteen hundred and six’ [pg 3] will serve as a labourer.
During his first night in New South Wales, where their homes are ‘only a flap of bark, a screen of sticks and mud,’ Thornhill digested the new land with its ‘rich dank smells…restless water…no Pole star’; an environment vastly differentiated from England. The unfamiliar situation is overwhelming as ‘he had not cried, not for thirty years….but now his throat was thickening.’ In his despair, Thornhill describes how being sentenced to New South Wales could potentially be worse than dying itself.
Initially, Thornhill believed his tears are clouding his vision since the ‘darkness moved in front of him’ [pg 5]. However, he then realised that a human, ‘as black as the air itself’ stood before him. The unusual appearance of this human struck Thornhill since ‘his skin swallowed the light…[and] eyes were set so deeply into the skull.’ Although clothed, Thornhill ironically felt ‘skinless’ against the other who was completely naked and holding a spear. Thornhill repeatedly demanded that the man ‘be off’, for fear of his family and himself being attacked. Despite his shouting, this only impelled the man to move closer to the point where they almost touched. The ‘black man’ [pg 6] reproduced ‘be off’ in Thornhill’s exact tone. While Thornhill’s fear of this strange human is prominent, he grappled the strength to exert a bold, intrepid veneer, as ‘he was not about to surrender to any naked black man’. When he glanced back to his wife and children however, the man promptly disappeared, leaving only the darkness behind. Thornhill returned to his hut where he laid back down to rest yet ‘every muscle was tensed…the cold moment of finding that unforgiving thing in his flesh.’
Analysis
Environmental / Landscape conflict
For Thornhill, who has spent a lifetime in England, the confrontation of a new environment evokes a powerful sense of unfamiliarity. The unknown land presents him with various intrapersonal conflicts, one of which is the difference between England and Australian stars. While the physical distance of this new land from Thornhill’s home is demonstrated by the lack of a ‘Pole Star, a friend to guide him on the Thames, [and] no Bear that he had known all his life,’ [pg 4] the unrecognisable stars above Australia only depict a ‘blaze, unreadable, [and] indifferent.’ His conflict demonstrates his physical and emotional distance from Thames, a place he grown up surrounded by compared to Australia, where learning begins from the very basics, as shown when he absorbs the natural landscape around him. The night described as ‘huge and damp, flowing in and bringing with it the sounds of its own life’ [pg 3] highlights how the Australian land is unique, possessing qualities of existence.
Thornhill’s sense of negligence in the vast forest that continues ‘mile after mile’ is illustrated through the imagery of the ‘trees [which] stood tall over him,’ depicting that nature is a powerful and dominant force over the Europeans. While the trees render him insignificant, it also demonstrates his alienation from the environment. The ‘Alexander,’ a common traditional English name, represents an intrusion of the Europeans onto the Australian land, further highlighting the idea that they do not belong on this island.
The Australian land is depicted to be harsh and unforgiving, as highlighted through the imagery of ‘dirt chill...sharp stab...alien stars' [pg 4] This conflict with the brutal landscape, along with the unknown leaves Thornhill apprehensive of what is to come. His feeling that he was ‘nothing more than a flea on the side of some enormous quiet creature’ [pg 4] depicts the Australian land almost like a monster. Additionally, the words ‘restless’ draw to the idea that the land is at discomfort or uneasy to have new inhabitants.
Racial/Cultural conflict
The conflict between two cultures is shown through the initial encounter between Thornhill and an Indigenous Australian. Without any conversation, the tension between the two is clear, merely through their actions in each other’s prescence. Thornhill notes the Aboriginal male’s tattoos, yet regards them as ‘scars’ since he is unaware to their culture. Even before this man, Thornhill is still infused with a sense of nakedness because of his unfamiliarity. His feeling that ‘every muscle was tensed…the cold moment of finding that unforgiving thing in his flesh’ highlights the tension of his first encounter of an Australian Aboriginal while it also foreshadows a suffering and anguish for his time ahead.
If you'd like to see the all Chapter plots, their analysis, along with important quotes, then have a look at our The Secret River Study Guide.
Quotes
Conflict with land quotes
“Now it had fetched up at the end of the earth.” [pg 3]
“…this prison whose bars were ten thousand miles of water.” [pg 3]
“foreign darkness” [pg 3]
“…soughing of the forest, mile after mile.” [pg 3]
“He was nothing more than a flea on the side of some enormous quiet creature.” [pg 4]
Thornhill’s inner conflict quotes
“He had not cried, not for thirty years, not since he was a hungry child to young to know that crying did not fill your belly.” [pg 4]
“But every muscle was tensed, anticipating the shock in his neck or his belly, his hand going to the place, the cold moment of finding that unforgiving thing in his flesh.” [pg 6]
Racism quotes
“It took a moment to understand that the stirring was a human, as black as the air itself.” [pg 5]
“Clothed as he was, Thornhill felt skinless as a maggot.” [pg 5]
“This was a kind of madness, as if a dog were to bark in English.” [pg 6]
“He was not about to surrender them to any naked black man.” [pg 6]
Sample Essay Topics
1. William Thornhill is more worthy of our respect than our reprehension. Do you agree?
2. How does Kate Grenville explore hierarchy?
3. How does The Secret River’s symbolism enhance its exploration of alienation?
4. “Fear could slip unnoticed into anger, as if they were one and the same.” The Thornhills’ anger is valid. To what extent do you agree?
Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our The Secret River Study Guideto practice writing essays using the analysis you've learnt in this blog!
Essay Topic Breakdown
Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy, a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response.
Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:
Step 1: Analyse
Step 2: Brainstorm
Step 3: Create a Plan
Theme-Based essay prompt: The Secret River depicts many layers of conflict, within but also between its key characters. Discuss
Step 1: Analyse
The key term of this prompt is conflict, but I think it’s also important to analyse how it’s discussed—as something that exists in layers, and something that can happen both within and between characters. This seems to hint at the idea that conflict can be internal—that is a single character can feel conflicted about something—as well as external—that is two or more characters can have some kind of dispute. This prompt will require us to think about all these different types of conflict.
Step 2: Brainstorm
Let’s start with the most internal layer—conflicts with the self. In terms of key characters, consider William but also Sal: what debates do they have with themselves, or what do they say or do that shows they feel conflicted or unsure about something?
Then, let’s broaden that out to interpersonal conflicts between characters. How do William and Sal, for example, come into conflict with their neighbours—both their white neighbours and their Aboriginal neighbours? How do they come into conflict with each other, even?
Maybe it’s worth separating the racial conflict into another category—conflicts between groups of characters, rather than individual characters. If we make this distinction, we need to be prepared to back it up—in what ways is this conflict of a different nature?
Step 3: Create a plan
I think we can pretty justifiably separate out our layers of conflict into those categories: interpersonal, interpersonal and interracial. This gives us three neat(-ish) paragraphs and a clear, affirmative contention: yes, there are many layers of conflict, and those are the three layers.
P1: At its most intimate layer, conflict is internal—the moral dilemmas of William and Sal are particularly strong examples.
P2: Conflict can also be interpersonal—we can see this between William and Dan, or William and his neighbours, or between William and Sal even. It’s up to you which way you cut this paragraph.
P3: However, perhaps the central conflict that the novel is built around is interracial conflict between white colonisers and the Aboriginal people whose land they occupied. To extend the prompt a little, we can talk about conflict not just between characters or people, but also between value systems. For example, the way colonisers saw land and property were fundamentally incompatible with how Aboriginal people saw it—this is another type of conflict.
In this sense, we’re largely agreeing with the prompt, backing up the distinction between interpersonal and interracial conflict, and finding a way to extend on it a little towards the end. We can build this into the contention as well: there are many layers of conflict, but they occur not just between characters. They can also exist between the broad cultural values of entire groups of people as well.
If you find this essay breakdown helpful, then you might want to check out our The Secret River Study Guide where we cover 5 A+ sample essays (written by a 50 study scorer!) with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.
As you all know, English subjects are integral to VCE studies, since it is compulsory that at least all four units of an English subject be done in order for you to reach that ATAR goal at the end of the VCE tunnel. Given the richness in cultural backgrounds of VCE students cohort, EAL is designed to mend the linguistic gaps between local students and those from non-English speaking backgrounds. Students eligible to complete EAL are those who have no more than 7 years residency in a predominately English-speaking country AND no more than 7 years having English as their main language of instructions. Therefore, it is generally considered ‘easier’ than mainstream English. So how exactly is this subject easier, or is this just some unproven prejudice? Let’s find out through my quick comparison between the two!
Purposes
According to the study design published by VCAA, both these English subjects ‘[contribute] to the development of literate individuals capable of critical and creative thinking, aesthetic appreciation and creativity…’ It might sound complex, but this basically just means that these subjects enable us to enhance our understanding and usage of the English language, which, in my opinion, serves to support our daily English communication. This purpose holds even greater significance to students from non-English speaking backgrounds, as those skills offered by English subjects are essential to their life in Australia. That’s said, EAL can be different from mainstream English in the sense that it also assists students whose mother tongue is not English in adapting to the predominately English-speaking community, via developing their language skills.
Structure
Both EAL and English assess students on multiple areas, including: Text response, Creative writing, Argument Analysis, Compare and Contrast, Presenting Argument. The only difference is in Unit 3, where EAL students are required to do a Listening task, whereas mainstream students study an additional text. Shown below is Unit 3 coursework for these two subjects (from the VCAA English/EAL study design):
ENGLISH
EAL
We can see that there is an extra outcome for Unit 3 EAL, which is ‘Comprehension of a spoken text’. This is where you will listen to two texts (twice each), take quick notes and fill in short-answers. Listening, therefore, is viewed by many as the least difficult compared to other tasks, because all you need to do is hear people speak English – something students do everyday. Yet it is absolutely not easy at all to attain a perfect score on this component! You have to pick up the right information from bunches of words, structure your response well so that the examiner understands what you try to convey, pay attention to paralinguistic elements (tone, volume, pitch…), etc. All of these skills can never be acquired without persistent practice.
In place of Listening component, mainstream English students get to do creative response to a different text. This is why Year 12 English students study a total of 4 texts (selected from VCAA text list), whereas it’s only 3 for EAL students.
VCAA has also noted down differences in the two subjects’ tasks conditions, as shown below:
End-of-year exam
Let’s have a look at another table:
Overall, they have similar components, except for the orange-shaded cells. Though EAL students do have a SAC on comparative analysis, this area is not assessed in their exam but replaced by the Listening task. Section C often has similar texts in both exams, with some modifications in language expression.
Both exams are to be done in 3 hours, non-stop! You’ll get quite weary I’m sure, but trust me, it will be followed by a sense of accomplishment to see all your hard work paid off on the exam papers!
Is EAL really easier?
So yep, EAL students get to write fewer essays and have lower word limit than mainstream students. But should we say that it’s easier? My personal opinion is: NO. The reason being learning a language that is not your mother-tongue is really never easy. Australian students doing VCE French will definitely agree with me! Given a large number of EAL students is international students, this subject can be a challenge to them. Yes, Listening might be easier than comparing texts, but taking super quick notes, picking the correct piece of info, paying attention to the way the speech is delivered, watching out for traps… are not that simple! I believe that no matter what subject you do, whether it be EAL or English or Maths… it only gets ‘easier’ after a period of constant effort and hard work.
For those eligible for both English and EAL, you might be tempted to go for EAL, but my advice is to consult available resources (the study design, this blog, teachers, peers…) before making a decision so as to figure out which style of learning best suits you. After all, you’ll learn most where you enjoy the most.
Good luck to you all!
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