EDLA479 Multiliteracies Project

Overview
This unit takes place in a year 10 classroom at a co-educational school
and would be best utilised after a unit on the analysis of persuasive texts
as it introduces students to the representation of women in range of
multimodal texts that are both persuasive and non-persuasive. This unit
builds on the theme of gender, relationships and power that is
consistently present in schools across Victoria at a year 10 level and is
particularly relevant to the current social and political climate in
Australia. The unit aims to promote the notion of respect and equality
across genders. Throughout the four lessons, students view and analyse
the representation of women in popular culture, and attempt to uncover
the sometimes hidden misogyny that exists. The texts used are texts
that students will be familiar with and they will be able to bring a level of
personal expertise to the classroom.
Students will be assessed formatively each lesson through the use of a
multi-genre project (group task) in which they will complete a variety of
tasks that enable them to design new texts and redesign existing texts in
a range of different multimodal ways (Skerrett, 2011). In addition to this,
students will be assessed individually through a series of reflection tasks,
these will be written and submitted to the teacher, but also shared with
the class.

SECONDARY LESSON PLAN

YEAR LEVEL & SUBJECT:

DATE: 19th October 2015

10 English

Where this lesson fits in the bigger unit: First in a sequence of four.

LESSON DURATION: 50 minutes.

TOPIC/FOCUS: The representation of women in video games.

AusVELS STATEMENTS: Evaluate the impact on audiences of different choices in the representation of still and moving images
(ACELA1572), Analyse and evaluate how people, cultures, places, events, objects and concepts are represented in texts, including media
texts, through language, structural and/or visual choices (ACELY1749), Reflect on, extend, endorse or refute others interpretations of and
responses to literature (ACELT1640).
GOALS AND OBJECTIVES (INCLUDE LINK TO AusVELS in brackets next to each objective):
The students will be able to: display an understanding of representations of women across a range of different video gaming platforms and
determine how these representations affect gamers and a larger societal audience (ACELA1572), (ACELY1749). They will demonstrate
this understanding through a short individual reflection and the first component of the multi-genre group project (ACELT1640).
SUMMARY OF RESOURCES REQUIRED: 14 images of women represented in a variety of different video games (see appendix a.)
LESSON PROCEDURE
TIMING

RESOURCES

5
minutes

15
minutes
15
minutes

5
minutes

14 images of
women represented
in a variety of
different video
games, guiding
questions (see
appendix a.), laptop,
pens, paper.

STEPS OF THE LESSON

(key activities and key questions)
Opening:
Students will be asked to contribute to a class discussion on the
different types of video games they are familiar with and play.
They will share what it is that they find entertaining and
engaging about these games.
Lesson Development:
In groups of four, students will evaluate the 14 video gaming
images using a series of guiding questions (see appendix a.).
Based on their responses to the guiding questions, students will
put together a short magazine human-interest article using the
tagline Real Girls and Video Games. They can choose to do
this using a laptop or by hand. They can write from the
perspective of their choice.
Students will now draft a short reflection on the available design
text they have analysed and the redesigned text they produced

GOALS & METHODS OF

EVALUATION
(including specific informal and/or
formal assessment links to AusVELS)
Having an opening discussion helps
the teacher to determine the extent of
personal expertise students have and
how much situated practice can be
incorporated into the lesson.
Students will engage with texts on a
social, organisationally, contextually
and ideologically through the use of the
guiding questions (ACELA1572),
(ACELY1749).

The engagement of each individual

student will be assessed through the

as part of their group.

Closure:
As a whole class activity, students will verbally share their
personal reflections; these reflections do not have to be
reflective of the of the group multi-genre task but may detail a
shared or difference of opinion.

10
minutes

short reflection that will be submitted at

the end of the class.

In sharing their reflections students will

have the opportunity to comment and
extend upon the reflections of their
peers (ACELT1640).

SECONDARY LESSON PLAN

YEAR LEVEL & SUBJECT:
10 English
DATE: 21st October 2015
Where this lesson fits in the bigger unit: Second in a sequence of
LESSON DURATION: 50 minutes
four.
TOPIC/FOCUS: Representations of Women as Fighters of Crime
AusVELS STATEMENTS: Compare the purposes, text structures and language features of traditional and contemporary texts in different
media (ACELA1566), Evaluate the social, moral and ethical positions represented in texts (ACELT1812), Analyse and evaluate how
people, cultures, places, events, objects and concepts are represented in texts, including media texts, through language, structural and/or
visual choices (ACELY1749), Reflect on, extend, endorse or refute others interpretations of and responses to literature (ACELT1640).
GOALS AND OBJECTIVES (INCLUDE LINK TO AusVELS in brackets next to each objective):
The students will be able to: understand the representations of women as fighters of crime across a range of multimodal
texts(ACELT1812), and compare these representations with each other and also with the representations of co-existing male
characters(ACELY1749), (ACELT1640).
SUMMARY OF RESOURCES REQUIRED: x2 video links x2 images (see appendix b.)
LESSON PROCEDURE
TIMING

2
minutes

RESOURCES

STEPS OF THE LESSON

(key activities and key questions)
Opening:
Students will be working in the same groups as the previous
lesson and will organise themselves accordingly.

GOALS & METHODS OF

EVALUATION
(including specific informal and/or
formal assessment links to AusVELS)

33
minutes

x2 video links x2
images, guiding
questions (see
appendix b.), poster
paper, pens, paper.

5
minutes

10
minutes

Lesson Development:
In groups of four, students will view and evaluate the four texts
provided using a series of guiding questions. They will use their
findings to create an A3 sized poster detailing the different
representations of crime fighting women they have analysed and
what redesigned meaning they have established as a group.
Students will now draft a short reflection on the available design
text they have analysed and the redesigned text they produced
as part of their group.

Closure:
As done in the previous lesson, students will verbally share their
personal reflections; these reflections do not have to be
reflective of the of the group multi-genre task but may detail a
shared or difference of opinion.

Through comparison of different

female representations, male
representations and representations of
the same characters (ACELA1566),
(ACELY1749), students will create
resigned texts that evaluate social,
moral and ethical positions
demonstrated in the texts
(ACELT1812).
The engagement of each individual
student will be assessed through the
short reflection that will be submitted at
the end of the class.
In sharing their reflections students will
have the opportunity to comment and
extend upon the reflections of their
peers (ACELT1640).

SECONDARY LESSON PLAN

YEAR LEVEL & SUBJECT:

DATE: 23rd October 2015

10 English

Where this lesson fits in the bigger unit: Third in a series of four

LESSON DURATION: 50 minutes

TOPIC/FOCUS: Representations of Women in Popular Music and Advertising

AusVELS STATEMENTS: Identify and analyse implicit or explicit values, beliefs and assumptions in texts and how these are influenced by
purposes and likely audiences (ACELY1752), Create sustained texts, including texts that combine specific digital or media content, for
imaginative, informative, or persuasive purposes that reflect upon challenging and complex issues (ACELY1756)Reflect on, extend,
endorse or refute others interpretations of and responses to literature (ACELT1640).
GOALS AND OBJECTIVES (INCLUDE LINK TO AusVELS in brackets next to each objective):
The students will be able to: compare different representations of women in music and advertising, including uncovering values and beliefs
put forth through song (ACELY1752), and produce a digital text that presents and informs on challenging and complex issues
(ACELY1756), (ACELT1640).
SUMMARY OF RESOURCES REQUIRED: x4 video links (see appendix c.)
LESSON PROCEDURE
TIMING
RESOURCES

STEPS OF THE LESSON

(key activities and key questions)

GOALS & METHODS OF

EVALUATION

(including specific informal and/or

formal assessment links to AusVELS)
Opening:
Students will be working in the same groups as the previous
lesson and will organise themselves accordingly.

1
minute
34
minutes

x4 video links,
guiding questions
(see appendix c.),
recording device,
pens, paper.

5
minutes

10
minutes

Lesson Development:
In groups of four, students will view and evaluate the four texts
provided using a series of guiding questions. They will use their
findings to create a 2-minute news report (A Current Affair style)
displaying a redesigned text on representations of women in
popular music and advertising.
Students will now draft a short reflection on the available design
text they have analysed and the redesigned text they produced
as part of their group.
Closure:
As done in the previous lessons, students will verbally share
their personal reflections; these reflections do not have to be
reflective of the of the group multi-genre task but may detail a
shared or difference of opinion.

Through comparison and analysis of

the provided texts (ACELY1752),
students will produce a redesigned text
that comments and informs on
complex issues of particular
importance to young people
(ACELY1756).
The engagement of each individual
student will be assessed through the
short reflection that will be submitted at
the end of the class (ACELT1640).
In sharing their reflections students will
have the opportunity to comment and
extend upon the reflections of their
peers (ACELT1640)

SECONDARY LESSON PLAN

YEAR LEVEL & SUBJECT:

10 English

Where this lesson fits in the bigger unit: Last in a series of four

DATE: 26th October 2015

LESSON DURATION: 50 minutes

TOPIC/FOCUS: Representations of Women in Power

AusVELS STATEMENTS: Plan, rehearse and deliver presentations, selecting and sequencing appropriate content and multimodal
elements to influence a course of action (ACELY1751), Analyse and evaluate how people, cultures, places, events, objects and concepts
are represented in texts, including media texts, through language, structural and/or visual choices (ACELY1749), Identify and analyse
implicit or explicit values, beliefs and assumptions in texts and how these are influenced by purposes and likely audiences (ACELY1752),

Reflect on, extend, endorse or refute others interpretations of and responses to literature (ACELT1640).
GOALS AND OBJECTIVES (INCLUDE LINK TO AusVELS in brackets next to each objective):
The students will be able to: demonstrate a definitive understanding of and opinion on the representations of women in popular culture
across a range of multimodal texts (ACELY1752), (ACELY1749), and present their understanding to the class effectively (ACELY1751),
(ACELT1640).
SUMMARY OF RESOURCES REQUIRED: x4 images and x1 video link (see appendix d.)
LESSON PROCEDURE
TIMING

RESOURCES

5
minutes

15
minutes

GOALS & METHODS OF

EVALUATION
(including specific informal and/or
formal assessment links to AusVELS)

Opening:
Students will be working in the same groups as the previous
lesson and will organise themselves accordingly.

1
minute
29
minutes

STEPS OF THE LESSON

(key activities and key questions)

x4 images x1 video
link, guiding
questions (see
appendix d.), laptop,
pens, paper

Lesson Development:
In groups of four, students will view and evaluate the five texts
provided using a series of guiding questions. They will use their
findings to draft a one-page letter to the editor detailing their
opinions regarding the existence of misogyny in Australian
society today (see appendix d.).
Students will now draft a short reflection on the available design
texts they have analysed and the redesigned text they produced
as part of their group.
Closure:
Each group will present their multi-genre project detailing the
evolution of their understanding of the texts presented
throughout the unit and their final conclusion with regards to
their understanding of the ways in which women are
represented in the form of a letter to the editor as a final
redesigned text. All redesigned texts created as part of the multigenre project will be available for all students to view, either on
display around the classroom or on the class Weebly.

The process of designing the final

redesigned text will display the
evolution of ideas that students have
understood throughout the unit
(ACELY1749), (ACELY1752),
The engagement of each individual
student will be assessed through the
short reflection that will be submitted at
the end of the class (ACELT1640).
The presentation of the entirety of each
groups multi-genre project
(ACELY1751) will demonstrate
students understanding of the unit as a
whole.

Rationale:
To be effective learners in the 21st century, students must think inventively,
effectively communicate, be highly productive and have an informed
understanding of the digital age (Schoffner, de Oliveira & Angus, 2010).
Throughout this unit students will engage with a range of multimodal texts
through a pedagogy of Multiliteracies, demonstrating the idea that in western
schools, there is not a singular form of canon English that can be taught anymore
(New London Group, 1996). Using resources familiar to them, students work in an
environment of situated practice which places students in a community of
learners who have varying degrees of expertise based on personal experience, as
part of a curriculum that has been designed with students personal experience
and expertise in mind (New London Group, 1996).
While they are still important, language facts such as correct grammar and
spelling were once deemed the only useful literacy knowledge students would
need for life; an idea reminiscent of teaching in the industrial age where students
would grow up to become obedient workers who simply accepted authority
(Kalantzis and Cope, 2008). In todays digital age, it is necessary for students to
be literate across a range of texts, written and otherwise, which they will likely
interact with on a daily basis in their adult lives. The rapid change that happens
frequently today means that an industrial style education is not useful to people
in a changing society, as it is almost impossible to adapt a transformed practice
design to it (Kalantzis and Cope, 2008). Through the use of technology we are
able to convert our ideas into practice and celebrate student differences in a way
never experienced before. Kalantzis and Cope claim that this celebration of
individuality allows students to work more efficiently than if they were forced to
conform to the same set of values (2008). This is an idea that Healy agrees with,
stating that deep learning occurs when student differences are acknowledged and
accepted and students are able to build their knowledge in their own individual
ways (2008).
Through the analysis of this broad range of multimodal texts, students create
meaning by establishing the representational, social, organisational, contextual
and ideological elements of each text (Kalantzis and Cope, 2008). They do this
through a series of carefully drafted questions, which allow the teacher to overtly
instruct students to ensure that they accomplish in an area that they might have
struggled with through teacher scaffolding (New London Group, 1996).
Working in small groups as part of a multi-genre projects allow teachers to
engage students with a range of different activities while overtly instructing
students to ensure that the correct content and skills are covered (Skerrett,
2011). This also allows the teacher to be a part of the community of learners,
rather than being the sole distributor of knowledge. This encourages critical
framing and ensures that there is no marginalising of students (Healy, 2008).
Critical framing also allows students to step back from what they have learned
and process how it relates to their lives and how they utilise this newly attained
knowledge, meaning students could begin to make informed decisions about their
video gaming choices for example (New London Group, 1996).

In each lesson students thoroughly decipher each text, processing the established
meaning in available designs, developing understanding and relating texts to real
life experience in the designing process and producing redesigned texts as a
result of the designing process (Cope and Kalantzis, 2009). This transformed
practice allows students to reflect their newly attained knowledge in other
cultural and social contexts (New London Group, 1996). The idea that all texts
and opinions are valued in the classroom and accepting a range of multimodal
texts consents to the untapped knowledge of many students, which has
previously been ignored and these students begin to engage, sometimes for the
first time, bringing a sense of real life in the classroom for all (Healy, 2008). Boys
who have previously been uncomfortable in the classroom due to concepts of
masculinity that impact the ways in which boys are comfortable in using
language, particularly language they associate with emotion and compassion,
begin to feel welcome and valued within the English classroom (Gilbert, 2003).
This is not because boys are just uninterested in reading in writing, in fact young
people across both genders are now reading and writing more than ever but in a
different format from traditional literature (Rennie & Patterson, 2010). Some boys
may appear uninterested in the classroom but may be avid readers and creators
of text outside of school (Williams, 2004). This may be due to the fact that the
English classroom traditionally discourages texts that are violent or actionpacked, texts that some boys may be drawn to. This can sometimes make boys
feel as if the content that they enjoy and are interested in has no value. It is
worth noting that it is often not the violence of particular popular texts that they
find enthralling, but rather the thrilling suspense that is associated with the
violence (Williams, 2004). While this unit is aimed to at educating young people
about the negative and positive representations of women available, it is done so
through the analysis of suspenseful and sometimes violent texts, which is likely to
be engaging for boys, despite the female gendered content. Critical literacy
enables students to uncover how gender is defined through the exploration of
language and text and using texts that present genders in a range of
stereotypical and non-stereotypical is most beneficial when used in the classroom
(Peyton Young & Brozo, 2001).
Through the use of advertisements as texts and critical literacy, students are able
to establish meaning and deconstruct texts that can hold dangerous hidden
messages, encouraging them to look further than the popular worldview that is
often presented (Honan, 2012). Advertising is designed to present people and
lifestyles that consumers will naturally envy (Serafini, 2008). For this reason it is
important that students are presented with the facts and can hopefully redesign
the text themselves. In the analysis of the Dove Evolution advertisements,
students deal with confronting and important issues that young people are now
faced with; when dealing with texts such as these scaffolding is paramount so
that students can learn the meaning behind each component within the text
(Healy, 2008). This is done not simply with carefully drafted questions to consider,
but also with the constant presence of the teacher, who moves fluidly around the
room from group to group.
The presentation component of the multi-genre project is designed not only to
assess the students understanding of the unit, but also to begin to tap into not as

yet established components of the Multiliteracies pedagogy. With increasing

technology and the introduction of new texts, it may be necessary to revisit and
build upon the Multiliteracies framework, which is quite text-centric in its current
state. The introduction of literacies such as human body activity and dramatic
play as opportunities for multimodal engagement may be hugely beneficial,
particular in areas of education where specialised learning needs exist and
dramatic play is constantly present in the classroom (Jacobs, 2014). While
obviously not dramatic play, the presentation itself could result in a new available
text being established, which students may redesign at a later date.

References:
Cope, B., & Kalantzis, M. (2009). Multiliteracies: New Literacies, New
Learning. Pedagogies: An International Journal, 4(3), 164-195. Retrieved from:
http://newlearningonline.com/_uploads/pedagogiesm-litsarticle1.pdf
Gilbert, P. (2003). Gender, Talk and Silence: Speaking and Listening in the
Classroom. In G. Bull, & M. Anstey (Eds.), The Literacy Lexicon (183-194).
Frenchs Forrest: Pearson.

Healy, A. (2008). Expanding Student Capacities: Learning by Design Pedagogy.

In Multiliteracies and Diversity in Education (2-30). South Melbourne: Oxford
University Press.
Honan, E. (2012). Using Digital Texts to Engage Students. In Teaching
Literacies in the Middle Years (57-80). South Melbourne: Oxford University
Press.
Jacobs, G. E. (2014). Reimagining Multiliteracies. Journal of Adolescent and
Adult Literacy, 57(4), 270-273. Retrieved from:
http://onlinelibrary.wiley.com.ezproxy1.acu.edu.au/doi/10.1002/jaal.249/epdf
Kalantzis, M., & Cope, B. (2008) Language Education and Multiliteracies. In S.
May, & N.H. Hornberger (Eds.), Encyclopedia of Language and Education, Vol.
1 (195-211). Philadelphia: Springer. Retrieved from:
http://newlearningonline.com/_uploads/SpringerHandbook.pdf
The New London Group. (1996). A Pedagogy of Multiliteracies: Designing
Social Futures. Harvard Educational Review, 66(1), 1-31. Retrieved from:
http://newlearningonline.com/_uploads/Multiliteracies_HER_Vol_66_1996.pdf
Peyton Young, J., & Brozo, W. G. (2001). Boys will be Boys, or will they?
Literacies and Masculinities. Reading Research Quarterly, 36(3), 316-325.
Retrieved from:
http://search.proquest.com.ezproxy1.acu.edu.au/docview/212131809/fulltextP
DF?accountid=8194
Rennie, J., & Patterson, A. (2010). Young Australians Reading in a Digital World.
In D. Pullen, & D. Cole (Eds.), Multiliteracies in Motion: Current Theory and
Practice (207-223). Hoboken: Taylor and Francis.
Serafini, F. (2011). Expanding Perspectives for Comprehending Visual Images
in Multimodal Texts. Journal of Adolescent & Adult Literacy, 54(5), 342-350.
Shoffner, M., de Oliveira, L. C., & Angus, R. (2010). Multiliteracies in the
Secondary English Classroom: Becoming Literate in the 21st Century. English
Teaching: Practice and Critique, 9(3), 75-89. Retrieved from:
http://search.proquest.com.ezproxy2.acu.edu.au/docview/926190606?
OpenUrlRefId=info:xri/sid:primo&accountid=8194
Skerrett, A. (2011). Wide Open to Rap, Tagging and Real Life: Preparing
Teachers for Multiliteracies Pedagogy. Pedagogies: An International Journal,
6(3), 185-199. Retrieved from: http://www-tandfonlinecom.ezproxy1.acu.edu.au/doi/pdf/10.1080/1554480X.2011.579048
Williams, B. T. (2004). Boys May be Boys, but do they have to Read and Write
that Way? Journal of Adolescent and Adult Literacy, 47(6), 510-515. Retrieved
from: https://web-a-ebscohostcom.ezproxy2.acu.edu.au/ehost/pdfviewer/pdfviewer?sid=282caf91-6c3c4d88-a85e-ef2469c13176%40sessionmgr4004&vid=1&hid=4112

Appendix A.
Mortal Kombat, released 15 April 2015.

Mortal Kombats Cassie Cage. Retrieved from:

http://www.mortalkombat.com/en/media/cassie-cage/

Mortal Kombats Dvorah. Retrieved from:

http://www.mortalkombat.com/en/media/dvorah/

Mortal Kombats Jacqui Briggs. Retrieved from:

http://www.mortalkombat.com/en/media/jacqui-briggs/

Mortal Kombats Kitana. Retrieved from:

http://www.mortalkombat.com/en/media/kitana/

Mortal Kombats Mileena. Retrieved from:

http://www.mortalkombat.com/en/media/mileena/

Street Fighter V. To be released in early 2016 on PC and PlayStation 4.

Street Fighter Vs Chun Li/ Blue Jade. Retrieved from:

http://streetfighter.com/characters/chun-li/

Street Fighter Vs Cammy. Retrieved from:

http://streetfighter.com/characters/cammy/

Street Fighter Vs R. Mika. Retrieved from:

http://streetfighter.com/characters/r-mika/

Street Fighter Vs Karin. Retrieved from:

http://streetfighter.com/characters/karin/

Street Fighter Vs Laura. Retrieved from:

http://streetfighter.com/characters/laura/
Resident Evil Revelations 2. Released 24 February 2015.

Resident Evil Revelations 2s Claire Redfield. Retrieved from: http://www.cooptimus.com/article/12590/resident-evil-revelations-2-release-datesconfirmed-new-gameplay-videos-to-view.html

Rise of the Tomb Raider. To be released 13 November 2015.

Rise of the Tomb Raiders Lara Croft. Retrieved from:

http://www.tombraider.com/images/
New Super Mario Bros. U. Released 18 November 2012.

New Super Mario Bros. Us Princess Peach. Caption present with image: The
poor Princess has some uninvited guests at her castle Can you get back and

help her out before unspeakable horrors befall the palace? Retrieved from:
http://newsupermariobrosu.nintendo.com/characters/

The Legend of Zelda. To be released mid 2016.

Princess Zelda. Retrieved from: http://zeldawiki.org/Princess_Zelda

Questions to consider:
1. Who are these characters designed for?
2. Do you know any real life women who look or behave like this? If yes,
provide further information.
3. If you are female, are you pleased with being represented like this?
Why/why not?
4. If you are male, would you being happy with your
mother/sister/girlfriend being represented like this?
5. Do you think these characters are representative of strong and
intelligent women? Why/why not?
6. Are these characters sexualised? If yes, in what way? If no, explain why
you think this.
7. Why would the creators of these characters portray them in such a way?
8. Do you have any knowledge of any female characters being portrayed
differently in video games? Provide evidence.
Multi-genre project component: Magazine editorial with the tagline Real Girls
and Video Games.

Appendix B.
Trailer for Suicide Squad, to be released 5 August 2016.
https://www.youtube.com/watch?v=PLLQK9la6Go

Watch the trailer above and pay close attention to the way that the female
characters are portrayed (Harley Quinn- played by Margot Robbie,
Enchantress- played by Cara Delevingne, Amanda Walker (Government
Agency Officer)- played by Viola Davis, Katana- played by Karen Fukuhara).
Questions to consider:
1. What are your first impressions of these characters?
2. How do their lines differ from the lines of the male characters?
3. Do these characters seem less mentally stable than the male
characters? Why/why not?
4. What does this tell you about the perception of mental illness in
women?
5. Are these characters sexualised? If yes, in what way? If no, explain why
you think this.
6. Do you think these characters are representative of strong and
intelligent women capable of fighting crime? Why/why not?
Catwoman (2004).

Retrieved from: http://www.imdb.com/media/rm3882790912/tt0327554?

ref_=ttmi_mi_all_sf_6#

Patience Philips from Catwoman (2004). Retrieved from:

http://batman.wikia.com/wiki/Catwoman_(Halle_Berry)
Questions to consider:
1. How do Patience Philips and Catwoman differ?
2. What can you see in the images provided that displays strength and
weakness?
3. How does this portrayal of Catwoman differ from your understanding of
Catwoman?
4. What feminine qualities can you see in Patience and/or Catwoman?
Law and Order SVU. https://www.youtube.com/watch?v=U-xYhGX0h88
Watch the short clip above, paying close attention to the female character,
Olivia Benson (played by Mariska Hargitay).
Questions to consider:
1. In what ways does this character display strength?
2. In what ways does this character display weakness?
3. Can you imagine the roles of the male and female police officers being
reversed? Why/why not?
4. Does the male suspect strike you as being a strong masculine
character? Why/why not? And does this impact the way in which you see
Olivia? Why/why not?
5. Is this character an accurate portrayal of women in law enforcement? Is
she realistic? Why/why not?
Multi-genre project: create a poster display your findings on women as
fighters of crime.

Appendix C.

Courtney Barnett, History Eraser. Music Video.

https://www.youtube.com/watch?v=k6_G5PlEXdk
Katy Perry, California Gurls. Music Video.
https://www.youtube.com/watch?v=F57P9C4SAW4
Pay attention to both the visual and audio components of these two texts.
Questions to consider:
1. In what ways is one of the texts more sexualised that the other?
2. Does this sexualisation add to the experience or make it more relevant
or believable?
3. Describe how the lyrics of each song compliment the videos and
vice/versa.
4. Could the genders of the characters in the videos be easily switched and
would it impact the overall narrative? Why/why not?
5. Do traditional gender roles play a big part in the ways that these texts
have been created? Why/why not?

Victorias Secret (2014). Retrieved from:

http://www.adweek.com/adfreak/real-beauty-nah-victorias-secretwould-rather-celebrate-perfect-body-161114
Questions to consider:
1. Is it right to refer to any one body as perfect? Why/why not?
2. Who is this advertisement seeking to sell to?
3. What do you think the seller is trying to say to its consumers?
4. Does this seller alienate some consumers? Why/why not?
5. Does this seller have a responsibility to present realistic and healthy
body ideals? Why/why not?
6. Why is the slogan The Perfect Body framed in the way that it is?
Dove Evolution Adverts.
https://www.youtube.com/watch?v=iYhCn0jf46U&noredirect=1
https://www.youtube.com/watch?v=17j5QzF3kqE

Questions to consider:
1. Do these videos change the way that you perceive the Victorias Secret
advert?
2. What is the purpose of these videos?
3. Who is the audience?
4. Is there anything you could bring that could redesign this text and
improve it?
5. Would a text such as this be appropriate and effective for young males?
Why/why not?
Multi-genre project: Create a 2-minute news report (A Current Affair style)
displaying your findings on women in popular music and advertising.
Appendix D.

Princess Mary of Denmark. Retrieved from:

http://royalcorrespondent.com/category/danish-royals/

Duchess Catherine of Cambridge. Retrieved from:

http://www.express.co.uk/news/uk/275537/Duchess-Kate-s-wedding-dressdraws-record-crowds-to-palace

Labor Senator for South Australia, Penny Wong. Retrieved from:

http://www.sbs.com.au/news/article/2013/08/06/how-culturally-representativeparliament

Minister for Foreign Affairs, Julie Bishop. Retrieved from:

http://www.sbs.com.au/news/article/2013/08/06/how-culturally-representativeparliament

Questions to consider:
1. How do sources one and two appear physically different from sources
three and four? Ie. Dress, hair etc.
2. Which images display strong and powerful women? Why?
3. Which images appear more masculine? Why?
4. Which images appear more feminine? Why?
5. What purpose does each image serve?
Watch the video below and keep in mind that this speech was delivered after
Mr Abbott called for the resignation of Peter Slipper, which would have greatly
affected Ms Gillards small majority in the House of Representatives. Using the
understanding that you now have about the ways in which women a portrayed
across various popular media texts, do you believe that the former Prime
Minister has a point about misogyny existing, not only within the Australian
Parliament, but in popular culture consumed across the world?
http://splash.abc.net.au/home#!/media/1248967/
Retrieved via:
Scootle. (2015). Julia Gillard Addresses Misogyny in Parliament. Retrieved
from: https://www.scootle.edu.au/
Multi-genre project: respond to the question above in a letter to the editor.