August

2019

CTL A1: Unit Redesign Using UBD

Callum Lofts
This document examines how to improve a filmmaking module using Understanding by
Design and integrating the cross capabilities of literacy, numeracy, creative critical thinking
and ethical understandings.

Western Sydney University 19277194

 Contents

Part 1

Executive Summary…………………………………………………………………………3
Background Information………………………………………………………………….4
Comparative Table…………………………………………………………………………..6
Recommendations…………………………....................................................................9

Part 2

Reconstructed Unit………………………………………………………………………...13
Scope and Sequence……………………………………………………………………….13
Concept Map………………………………………………………………………………….17
Assessment Task and Marking Criteria…………………………………………...18
Redesigned Unit…………………………………………………………………………….22
References…………………………………………………………………………………….40
Appendices……………………………….…………………………………………………..46

2
 Part 1

Context and Objective

This report is designed for review from the Creative Arts Faculty at Kingswood High School focussing

on a unit within the subject of Drama. Kingswood High School is a comprehensive co-educational high

school located in the Penrith Valley region. The school’s make up in predominantly of low Socio-

Economic Status (SES) with 53% of students being recorded in the bottom quarter of the Index for

community socio-educational advantage (ICSEA) (MySchool, 2018). Overall the school’s ICSEA score is

939 which is below the ICSEA average of 1000 (MySchool). Furthermore, 22% of school students

come from a language background other than English and 9% identify as Aboriginal and Torres Strait

Islander (ATSI) (MySchool). The gender distribution is 56% boys and 44% of girls (MySchool).

This unit has been originally designed for year 10 drama students with the objective of making a short

film for assessment. The unit is designed to enable students to experience filmic conventions relevant

to the short film genre and develop the vocabulary and skillset to construct and present a short film to

the class to demonstrate transference of the knowledge gained in this unit. The unit was taught by the

only resident drama teacher in the faculty to a class of students with diverse learning needs.

Specifically, they range from Life Skills curriculum and cognitive and socio-emotional learning needs.

Further, due to systemic disadvantage in the area, some students attend classes irregularly and miss

vital content.

MySchool: Retrieved from [Link]

3
Goals of Report

● Students will be able to understand, meaningfully acquire and transfer their knowledge of

(mobile) short film making concepts, streamlining a broad topic into a specific subgenre

● Give students greater opportunities for creative critical thinking and problem solving in groups

via experimentation of applying film concepts and exploring ethical understandings

● Develop clear literacy priorities that include developing student capability in visual literacy

vital for success in the unit

● Identify important components of numeracy that are core to the filmmaking process

● Enable students to demonstrate learning and understanding in a variety of ways and contexts

with multiple and fluid smaller assessments

● Sequence of learning will be improved using Understanding by Design to provide clarity to

staff and therefore students in regards to logical progression, relevance and meaningfulness

Recommendations

The recommendations of this report are firmly rooted in the context of this school and classroom.

Therefore, the modifications of the unit will be focussed developing clarity of integral learning goals

so all students can access their learning and succeed. This unit will be modified on a strengths based

approach to make the learning environment inclusive and responsive to the needs of a mixed ability

classroom in a low SES school with specific adjustment for those students who have cognitive or

socio-emotional learning needs. The recommendations are as follows:

- Support student learning through explicit learning intentions and desired results, modelling

and scaffolding of work

- Support literacy priorities through students documenting their process, including journal

reflections, scaffolded worksheets

4
- Support numeracy priorities through identification, understanding and application of spatial

awareness and patterns and relationships- vital in film composition

- Unify the sequence and lesson progression of unit using understanding by design so learning

goals and desired outcomes are clear for staff and students

- Support ethical concerns by investigating an ethical dilemma relevant to student concerns

(Climate Change)

- Develop and provide activities that support creative critical group work and problem solving

which enables students to demonstrate transference of key concepts, skills and vocabulary

related to filmmaking

- Improve formative assessment and student accountability through assessing their project

work throughout the unit in a series of small assessable tasks that supports the final

assessment: presentation of film.

5
Comparative Table

Area of Strengths of Concerns of the Suggested Changes Research support

consider the area of area of to counteract for the changes
ation consideratio consideration concerns suggested.
n

Worksheets Visual literacy is not Activities have been Understanding the

are scaffolded addressed. It is not adapted so students metalanguage and
Literacy and explicit to indicated if students learn to identify and literacies of a given
differentiate understand how apply film terms, subject area increases
according to meaning is created concepts and competencies in
student need. and interpreted via conventions understanding and
visual mediums. developing meaning making
metalanguage and supporting success
deepening their and improving overall
ability to understand literacy (Lundy and
and analyse visual Stephens, 2015)
media.

Requires How and when Journal reflections Journal reflections are

students to journal reflections explicitly become an a specific part of the
personally are made is not integral component subject e.g. drama as
reflect in explicit. Therefore, in the unit, as it is a stated by the syllabus
logbook. risks being forgotten requirement by the (ref). The reason for
during lessons. syllabus. These this is because
journal reflections reflective journaling
will be centred on helps document and
three questions: therefore understand
What did we do? Why and appreciate the
did we do it? What creative process
did I learn about (Zubizarreta, 2009).
myself?
Timeline Numeracy is not Analysis of how Framing in film is an
activity that explicitly addressed composers use spatial integral component of
Numera records the in this unit and reasoning to frame conveying meaning.
cy history of film therefore, scenes and therefore Through shapes,
helps develop interdisciplinary influence audiences angles and spatial
basic connections are lost. will be implemented interrelationships
numeracy. and then through composers create
activities mood, atmosphere
experimented with. and dramatic tension
(Tomaric, 2013).
Editing their It has been Understanding and Repetition and
films to identified by the applying, repetition patterns, particularly
adhere to the teacher that explicit of patterns and of images help to
2-minute teaching of relationships in film convey meta-themes
timeframe numeracy in film is compositions will in films (Tomaric,

6
 helps needed in order to give students of 2013).
students help students awareness of how
understand become successful. meaning making is
how developed,
numeracy is particularly through
used to create editing.
dramatic
tension and
timing.
Students Class activities risk Filmmaking has been Delving into the
Critical responding to, giving students streamlined to specifics of a subject
and and superficial specific genre: Mobile area helps develop
Creative composing understanding and Filmmaking. This is content knowledge
Thinkin films support therefore student so students can that can then be
g critical misconceptions. understand concepts, broadened and
creative conventions and transferred to other
thinking. language relevant to disciplines (Jones, &
understand and apply Moreland, 2005).
meaning by
responding to and
composing texts of
this genre.
Through the Activities for groups Group activities have Modelling and
group task to achieve their been made explicit forward feeding are
they goals are not through forward known techniques
communicate detailed and feeding and that are effective in
and share therefore risks modelling so conveying learning
their misdirection and expectations are expectations and
understandin distraction. explicit. Teacher will outcomes (Gamble,
gs, actively facilitate and 2001).
visualisations guide students
and throughout the
innovations to collaboration process.
audiences and
their group.
Can be Ethical Exploration of an It is vital that
Ethical explored Understandings are ethical issue relevant students understand
Underst through not made explicit in to students is centred that creative works
anding analysing the this unit because the on the poem Mother reflect and address
given syllabus has not that explores the issues in society thus,
circumstances been updated. impacts of climate being able to make
of their change. Ethical issues cross disciplinary
characters- that affect human connections
What societies are one of (Tremblay, 2013)
challenges are the primary reasons
they facing? for making art and
Why? that includes film.
Therefore, relevancy
is created and
connections to why a
discrete body of
knowledge is useful
are made.
7
 Responding to Does not explicitly Through research, Transferring concepts
films e.g. address how analysis and and facts into new
Carmichael composers of film synthesis of the circumstances
and Shane, respond to ethical ethical dilemma enhances student
What are the and social dilemmas students understand understanding and
implications in our societies. through embodiment develops connection
of favouring how composers may making between
one child over address ethical disciplines (ref).
another? issues.
Outcomes are Desired results are Desired results are Making explicit of
specifically not clear. It is made explicit so that what students are to
Underst stated in the understood that evidence of learning produce as evidence
anding unit to guide students must make and therefore of their learning helps
by learning. a short film learning plans cater develop relevant
Design however; guidelines to the end goal learning activities
are extremely broad clearly: creating and that align with the
risking confusion. two minute short film learning goals
using climate change (McTighe, & Wiggins,
as stimulus. 2011).
Unit Does not indicate Knowledge and skills Codifying learning
description the importance of are clearly identified activities helps
establishes this learning or how and categorised into teachers priories
the students will acquisition, meaning learning needs
touchstones acquire, make and transference in (McTighe, & Wiggins,
of student meaning of and order for teachers to 2011)
learning. transfer this body of help facilitate
knowledge. learning goals.

8
Recommendations

Changes to this unit comes from a need of clarity for both students and staff regarding learning goals.

Drama in all its subtopics, has a discrete body of knowledge that requires students to demonstrate

understanding through making, performing and appreciating (Board of Studies, 2003). It is the

acquisition of skills, the understanding and appreciation of concepts in new contexts that create

meaning and transference (embodied knowledge), arguably the goal of all learning (Board of Studies,

2003; Wiggins, & McTighe, 2012). Therefore, this unit has been reconstructed using understanding by

design, inquiry based teaching integrating cross capabilities literacy, numeracy, ethical

understandings and creative critical thinking.

Firstly, it is important to note the strengths of this unit. This unit clearly utilised differentiated

strategies for students of diverse learning needs by identifying those students in need and clearly

outlining strategies to be used. This is demonstrates good practice and will remain at the core of this

unit to address the learning needs of these students. Furthermore, the unit uses reflective practice

centering on essential questions to evaluate the effectiveness of the unit design and how students

respond to its implementation. This is again, a sign of good practice as it allows the unit to be adaptive

to student needs and educational objectives of teacher, faculty and school (Broemmel, Jordan, &

Whitsett, 2015).

To build on and improve on this, the unit has been redesigned with understanding by design to

specify learning intentions and raise student understanding of the discrete body of knowledge

(Filmmaking). The unit risked coverage of content instead of key understandings centering on

principles of acquisition meaning and transference (McTighe, & Willis, 2019). Therefore, student

understanding of filmmaking, its purpose and demonstration of skills in three crucial areas (making,

performing, appreciating) potentially could be shallow, prompting disengagement and common

9
misconceptions (McTighe, & Willis). As a result, the unit has been reconstructed in three stages firstly,

clarifying desired results, evidence of learning and a learning plan (unit) to enable greater

transference of meaning evidenced in student work. Backward mapping learning goals for this unit

are essential to create effective classroom pedagogy (McTighe, & Willis). This means, the assessment

has been further specified to centre on a subtopic of filming: making a mobile short films. Here,

students are to make a two minute short film and will be assessed on how they apply their knowledge

of mobile shorts in their composition (meaning making and transference). Narrowing the genre of film

making to mobile short films counteracts the tendency of shallow content coverage, allowing students

clarity of specific learning goals as well as being introduced to universal filmic language and

conventions that extends beyond the genre (Jason Tomaric. 2013). Further, mobile shorts take

advantage of innovations in technology and expression and utilizes the material assets of the

students: their smartphones.

It is accentuated that learning is based on inquiry; how do short films work? How do I make a short

film with my mobile? These essential questions guide students to develop theories and inferences in

which they test out through enactment (Fraser, Aitken, Price, & Whyte, 2012). Further, evidence of

learning has been recalibrated to align with the learning goals of the unit. The aim is to have students

understand, identify and apply essential skills and concepts. We are assessing for understanding and

therefore, the assessments have been broken up into categories of acquisition of discrete skills for

example, identifying and applying filmic techniques. Then making meaning through interpreting and

responding to visual texts and finally transferring meaning and skills into composing a short film. This

ensures that students are assessed for understanding and not fact or skill regurgitation (Wiggins, &

McTighe, 2011). With this in mind, the unit can be reconstructed as an effective learning plan that staff

can closely monitor and examine student progress against the learning goals (Wiggins, & McTighe).

Moreover, learning goals for each lesson have been coded for clarity. The code differentiate what the

learning goals are regarding acquisition, meaning and transference (AMT). Acquisition is for the skills

needed to be learned on applying knowledge such as identifying camera shots, meaning through

10
learning activities to help students formulate theories and concepts of which they test and finally,

transference which culminates in students composing a short film around a contemporary issue

(Wiggins, & McTighe; ACARA, 2019).

Moreover, the unit has been redesigned around cross capabilities of literacy, numeracy, ethical

understandings and creative critical thinking. This is to promote student engagement and deepen

student access to learning. For example, literacy is targeted in multifaceted ways in this unit. Firstly,

students learn to utilise visual literacy skills by responding to and making meaning from visual texts

(short films). Students are introduced and then tasked to apply and identify film terms, concepts and

conventions developing metalanguage, content literacy and deepening their ability to understand and

analyse visual media, an important skill in a multimodal world (ACARA, 2019; Tomaric, 2013). Total

competence is achieved by students composing their own short films of which teachers can effectively

assess their visual literacy. Functional literacy is supported through scaffolding of tasks, frequent

revision and journal reflections (Board of Studies 2003; Didau, 2014). Additionally, numeracy has key

components in the filmmaking process. For example, analysing how composers use spatial reasoning

to frame scenes to influence audiences will be explored through activities to develop skill acquisition.

Repetition of patterns and relationships will also be analysed in film compositions giving students

awareness of how meaning is developed through film structure (Tomaric, 2013).

Finally, both creative critical thinking and ethical understandings are entwined to enhance student

understanding of the mobile film genre. Firstly, students are to compose a short film on their

smartphones around an ethical dilemma. In this case it is climate change. They are then to compose to

two minute short film around this topic. This specifies their subject area for content. Students are

provoked towards this contemporary issues through a stimulus poem: Mother which the class

analyses and investigates for inherent meanings. Students are then guided through to weigh up this

ethical issue, analysing and comparing research. In groups of four students are then tasked to solve a

creative problem: making a short film around climate change. Together they work to extrapolate

11
meaning and transfer their knowledge into a short film. This creates opportunities for peer learning

(Saleh, Lazonder, & Jong, 2007). Warm up games have also been added as drama lessons typically

follow professional actor workshops. Essentially, in that structure warm up games serve as a vehicle

to forward feed the skills needed to develop a body of knowledge. In this case games have been

chosen on the merits of promoting collaboration and focus (Hart, Onuscheck, & Christel, 2016) The

teacher then acts as a facilitator, giving students new experiences and challenges requiring

adaptation(Loreman, Deppeler, & Harvey, 2011).

In essence the unit has been redesigned to strengthen student engagement and understanding. By

having students compose a 2 minute short film around a contemporary issue, learning goals have

been clarified which leads for more opportunities for transference to take place (McTighe, & Willis,

2019). This cancels out the twin sins of activity learning and shallow content coverage, having

students focus on developing a specific skill set that can then be applied to future learning (McTighe,

& Willis). Furthermore, have the assessments broken down into smaller tasks gives all students the

opportunity for success. The make up is 60% practical, 40% writing breakdown reflective of drama

HSC requirements and therefore preparing students for the rigours of senior drama (Board of Studies.

2009). In conclusion creating relevancy through a particular contemporary issue, utilizing student

capital re mobile devices and developing learning content for understanding creates a more effective,

clear and holistic unit that aims for students to transfer their knowledge (Wiggins, & McTighe, 2012).

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Reconstructed Unit

DRAMA: Scope and Sequence

Stage 5: Year 10, 2018

Wee Wee Wee Wee Wee Wee Wee Wee Wee Wee

k1 k2 k3 k4 k5 k6 k7 k8 k9 k 10

T Title: Compulsory Context: Playbuilding with Comedy

r Unit Description:
m
This 25hr unit aims to introduce students to the world of comedy through

the use of Playbuilding. Exploring the different styles and history of

1
Comedy in Drama, students are encouraged to manipulate the Elements

of Drama to make, perform and appreciate other pieces and their own.

Students learn about Pranks, Medieval Comedy, Shakespearean Comedy,

Slapstick and Parody. This unit also looks at appreciating current

Comedies. Australian comedy is specifically addressed and Australian

comedians such as Chris Lilley are studies. Students will make, perform

and appreciate their comedy performance.

Outcomes: 5.1.1, 5.1.3, 5.1.4, 5.2.3, 5.3.2, 5.3.3

Life Skills Outcomes: LS.1.1, LS.1.2, LS 2.1, LS.2.2, LS.3.1, LS.3.2

Lesson frequency: 5x1 hour lessons per fortnight.

13
T Title: Compulsory Context. Dramatic Form: Film Making

r Unit Description:
m
This 25hr unit aims to establish the conventions of the dramatic form of

Film. Students explore production roles, technical terms, storyboarding,

2
script writing, utilising their smartphone as a film camera and editing.

Students learn to perform various roles in order to create a short film

collaboratively. The emphasis is on using creative, critical thinking in the

making of a film screenplay, utilising film techniques and the editing

process to create a two minute short around an ethical issue. Students

will present a documented process with a final in-class assessment

presentation of their film. Students are encouraged to utilise correct

filmmaking terminology in their discussions and written responses.

Focus Outcome Codes: 5.1.1, 5.1.2, 5.1.3,5.1.4,5.2.3,5.3.3

Life Skills Outcomes: LS 1.3, LS.2.1, LS.2.2, LS.3.1, LS.3.2

Lesson frequency: 5x1 hour lessons per fortnight.

T Title: Compulsory Context. Performance Style: Verbatim Theatre

r Unit Description:
m
This 25hr unit fulfils the requirements of Essential Content ‘Playbuilding’

and Additional content ‘Verbatim Theatre’ as outlined in the Drama

3
Syllabus. Students engage in integrated learning experiences from the

three practices of making, performing and appreciating drama. Students

14
 will be introduced to relevant drama terminology as well as the function

of their drama logbook throughout this unit of work. Students will view

“Cyberbile” by Alana Valentine as a text to model the features of a

Verbatim performance. Students will create an original Verbatim

performance in groups and document their individual process in their

logbooks. After weeks of preparation, students perform their piece as a

formal assessment in class.

Focus Outcome Codes: 5.1.1, 5.1.3, 5.2.1, 5.2.2, 5.3.1,5.3.2

Life Skills Outcomes: LS1.1, LS 1.2, LS 1.3, LS 2.1, LS 3.1, LS 3.2, LS 3.3

Lesson frequency: 5x1 hour lessons per fortnight.

T Title: Performance Style: Physical Theatre

r Unit Description:
m
This unit delves into a range of teacher directed Physical Theatre

activities, where the body in space is used as the main means of

4
communication . Students are guided through a safe and secure physical

program, learning all the basics for creative execution of physical

performances. Students also research Physical Theatre companies to

contribute ideas to a whole class developed work. As a final assessment,

students are encouraged to collate, collaborate and facilitate a

performance of a chosen poem (poem read by separate class member in

audience in order to keep timing) whereby all techniques learnt are

utilised and performed to the class in a 2-3 minute physical theatre

performance.

15
Focus Outcome Codes: 5.1.1, 5.1.2, 5.1.3, 5.1.4, 5.2.1, 5.2.2, 5.3.1, 5.3.2

Life Skills Outcomes Codes: LS 1.3, LS 2.1, LS 2.2, LS 3.1

Lesson frequency: 5x1 hour lessons per fortnight.

16
Concept Map

17
Assessment Task

CAPA ASSESSMENT TASK

CAPA
YEAR
10 Drama

Task Date Date Due: Maximum Weighting:

Number: 3 Issued: Term 2 Marks: 25%
Term 2 Week 9
Week 2

Student Name:

TOPIC: Filmmaking

Outcomes to be assessed:
5.1.1 manipulates the elements of drama to create belief, clarity and tension
in character, role, situation and action
5.1.3 devises, interprets and enacts drama using scripted and unscripted
material or text
5.1.4 explores, structures and refines ideas using dramatic forms,
performance styles, dramatic techniques, theatrical conventions and
technologies.
5.2.1 applies acting and performance techniques expressively and
collaboratively to communicate dramatic meaning
5.2.3 employs a variety of dramatic forms, performance styles, dramatic
techniques, theatrical conventions and technologies to create dramatic
meaning.
5.3.1 responds to, reflects on and evaluates elements of drama, dramatic
forms, performance styles, dramatic techniques and theatrical conventions
5.3.3 analyses and evaluates the contribution of individuals and groups to
processes and performances in drama using relevant drama concepts and
terminology.

18
Task Description:
Task:
1. In-class short film presentation (60%)
In groups of 4, students are to produce a short film 2-5 minutes in
length based on a SI (Signature Item) given by the teacher and
present to the class. They are to:
- Write a Screenplay (Script) (10%)
- Utilise technical terms correctly and process their given
role in their logs (10%)
- Complete a group Storyboard (10%)

Band A student in this band demonstrates:

A ● Outstanding use of film techniques(camera angles,

90- camera movement, lighting/sound)
100% ● Very Clear structure of character, role, situation and
action
● Outstanding script/dialogue
● Outstanding imaginative response to stimulus
addressing ethical issue

B ● Excellent use of film techniques (camera angles,

66-89% camera movement, lighting/sound)
● Clear structure of character, role, situation and action
● Excellent script/dialogue
● Excellent imaginative response to stimulus
addressing ethical issue

C ● Good use of film techniques (camera angles, camera

50-65% movement, lighting/sound)
● Some clear structural moments of character, role,
situation and action
● Good script/dialogue
● Good response to stimulus addressing ethical issue

D ● Basic use of film techniques (camera angles, camera

30-49% movement, lighting/sound)
● Some basic structural moments of character, role,
situation and action
● Basic script/dialogue
● Basic response to stimulus addressing ethical issue

E ● Little to no use of film techniques (camera angles,

0-29% camera movement, lighting/sound)
● Minimal structural moments of character, role,
situation and action
● Minimal dialogue

19
 ● Minimal response to stimulus addressing ethical
issue

- Edit their video (10%)

Students will present their film, along with their individual
documented process (logbook) (20%)

2. Logbook (40%)
Each fortnight, students’ logbooks will be collected and assessed at the end
of each class. Logbooks should detail what has been completed in each
lesson (class work and assessment related)

Marking Criteria:
MARKING GUIDE
A.

MARKING GUIDE
B.
Band A student in this band demonstrates:

A ● Very clear journal that documents the process

90-
100%

B ● Clear journal that documents the process

66-89%

C ● Some clear journal entries that documents the

50-65% process

D ● Some basic journal entries that may document the

30-49% process

E ● Little to no journal entries.

0-29%

20
Feedback:
Written feedback with individual marks given.

Your work must not have photocopied information, nor material that is
simply pasted in from computer sources such as the Internet. While these
are suitable references, the information in your work should be in your own
words. A bibliography must be included where appropriate.
In the event that your printer fails your work must still be submitted
on the due date.

Approved

Head Teacher, CAPA

21
Redesign Unit

Key: Annotations and Additions To be Removed *= See Appendix T= Transference M= Meaning

Making A=Acquisition

UNIT OUTLINE
Subject Drama Stage: 5 Yr 10 Number of
Weeks 6/9
Unit title: Short
Film Making
with Mobile
Devices
Key Concepts/ Big Ideas The importance of this learning
The aim of this module is to give students opportunities to
Essential Questions: acquire skills and disciplines that inform the work of
filmmaking, through this they will develop their visual
● Why do people make literacy skills in order to make meaning by responding to and
films? composing their own visual texts and transfer their
● What are short films? knowledge into a two minute short film. The aim of drama is
● How has mobile shorts to develop creative and critical capacities to empower
changed the genre of students to utilise their skills in more complex new situations.
short filmmaking? Essentially, it is to create works of art that have meaning and
● What do I need to do to relevance. Filmmaking as a module is unique as it allows
make my own short? students to clearly explore and analyse the aesthetics that
● What narrative structures make up a dramatic form. This in itself is a skillset useful in
will I need? drama because understanding a form allows you to
● Why is climate change an manipulate it to create a narrative. This helps prepare
issue? students for the more analytic rigours of senior drama and
● How can I convey this? empowers them to become responders and creators in a
multi-modal world.
Unit context within Scope and Targeted Syllabus Outcomes (including life skills
Sequence outcomes)
5.1.1 manipulates the elements of drama to create belief,
This unit fulfils the compulsory clarity and tension in character, role, situation and action
context: dramatic form. Students 5.1.3 devises, interprets and enacts drama using scripted and
are to develop understandings unscripted material or text
and execution of a particular 5.1.4 explores, structures and refines ideas using dramatic
dramatic form, in this case short forms, performance styles, dramatic techniques, theatrical
films. Collaboratively students conventions and technologies.
develop a short film around an 5.2.1 applies acting and performance techniques expressively
ethical dilemma and through and collaboratively to communicate dramatic meaning
enactment attain embodied 5.2.3 employs a variety of dramatic forms, performance
knowledge for transference. This styles, dramatic techniques, theatrical conventions and
unit is a 9-week unit in term 2 technologies to create dramatic meaning.
completed in 25 hours. The unit 5.3.1 responds to, reflects on and evaluates elements of
comes after Playbuilding with drama, dramatic forms, performance styles, dramatic
Comedy and informs compulsory techniques and theatrical conventions
context: Verbatim Theatre. The 5.3.3 analyses and evaluates the contribution of individuals
teamwork and performance and groups to processes and performances in drama using
skills gained in the Playbuilding relevant drama concepts and terminology.
unit transfer to the Filmmaking
module. The filmmaking module Life Skills:
further develops students’ LS.1.3: participates in drama experiences in which role-taking
22
creative and critical is used to enhance their understanding of ideas and feelings
understanding of a real world LS.2.1: explores dramatic forms and theatrical conventions
dilemma. This is integral for LS.2.2: participates in the preparation of drama works and
investigating Verbatim Theatre theatrical productions
as a discipline. LS.3.1: experiences a variety of drama or theatre
performances
LS.3.2: identifies and responds to the elements of drama or
theatre in performances

Literacy Targets Numeracy ICT Targets CCP/ Assessment

Targets GC

Visual literacy: Support ICT: ● Centred A. Film

Numeracy around an making
● Comprehe Capabilities by: ● Viewing ethical as a
nding and and dilemma process
respondin ● Understan analysing of a 60%
g to visual ding and contempo contempo ● Apply
texts then rary short rary issue: filmmakin
● Composin applying films, Climate g terms
g visual how those Change and
texts filmmaker composed ● In groups conventio
around a s use and of of four ns (10%)
critical spatial new students ● Compose
contempo reasoning media e.g. present a script
rary issue to frame films shot short film (10%)
scenes to on of two ● Complete
Content Literacy: influence smartpho minutes storyboar
audiences. nes. around d (10%)
● Understan ● 1. ● Students the issue ● Edit film
d and Understan will learn of climate (10%)
identify d that to utilise change ● Present
filmic making their ● Students final
terms, meaning smartpho must solve product
concepts, in film nes as a creative (20%)
and relies on a cameras problem: B. Logbook
conventio repetition to create creating a Documentation
ns in short of patterns their short short film of process
film and films with only (40%)
● Apply relationshi ● Students their
filmic ps through will learn smartpho ● Each
terms sound and and use nes that fortnight,
conventio images. 2. computer utilises
students’
23
 ns and Identify software the log books
concepts and then to create conventio will be
to create a apply their short n concepts collected
short film patterns films and terms
and assessed at
around a and ● An ICT of film
contempo relationshi projector ● Students the end of each
rary issue ps in film will be given class. Logbooks
compositi used to multiple should detail
Support ons present learning what has been
functional ● Collaborat their shirt contexts completed in
literacy by: e and films to each lesson
create a ● Research understan
● Scaffoldin film and d, analyse
g all tasks schedule teaching and then
into for will be apply
smaller, shooting used in their
manageab conjunctio knowledg
le steps n with ICT e
● Incorporat through
e frequent analysing,
revision viewing
and study and
notes composin
● Issue g
handouts
and
summarie
s of lesson
notes
● Students
are
required
to reflect
in the
drama
logbook
through
three
questions:
What did
we do?
Why did
we do it?
What did I
learn
about
myself as
a creative
collaborat
or?

24
Week 1 Period 1 Period 2 Period 3
Key Outcome(s) 5.3.1 5.1.1 5.1.1

5.1.4 5.1.3 5.1.3

LS.2.1 5.3.1 5.2.1

LS.2.1 LS.2.1

LS.1.3
Key Concept(s) Film, Short Film, Plot, Film Composition: Stimulus: Mother-
Characterisation, Camera Angles, Climate Change
Setting, Sound Camera Movement,
Composition, Camera Composition, Lighting Developing Dramatic
Angles, Developing and Colour, Sound Meaning:
Dramatic Meaning and Design, Narrative Improvisation,
Tension Structure, Stimulus Response,
Collaboration, Peer Narrative Structure,
Teaching, Developing Characterisation
Dramatic Meaning and
Tension
Learning 1. Opening 1. Students 1. Warm up
Experiences Discussion view: Film Game: What
led by Techniques Are You
essential for Students Doing?*
questions: [Link] 2. Students
What is film [Link]/ introduced to
making? Why watch?v=Nvy poem stimulus:
do people bQ5RpMkc Mother*.
make films? and are Teacher reads
Why do presented a out poem and
people watch series of students write
films? slides to down anything
Students transform that comes to
write into their own mind. Students
reflections in summary list read and
logbook. of technical discuss their
2. Students terms. The written
view: powerpoint responses.
Tropfest film slides are: Teacher guides
Carmicheal ● Camera with essential
and Shane Angles questions:
and answer ● Camera What images
questions 1-5 Movement are portrayed
( Name this ● Composition in the poem?
25
 short film. ● Lighting and What word
Provide a Colour choices has the
brief ● Sound Design poet used to
description of 2. Students are deliberately
the plot. allocated construct
(Who, what, groups of four meaning? What
when, where and choose one emotions or
and why...). camera angle feelings are
How was the and one evoked from
TSI camera the poem?
incorporated? movement to From all this,
What made it create a 30 what is the
a good short second video poet intending
film? (Plot, on peer to say? Key
characters, pressure. literary
setting,sound Students are techniques are
etc). Describe told that the highlighted.
one piece of video has to Final question:
footage (shot have a Why did the
size, camera beginning, poet write this?
angle) that middle and This leads to
assisted in end. Teacher the essential
creating shows an themes of
tension and example ecological
dramatic created to damage and
meaning. model climate change
3. Students expectations. at the heart of
given short Students to film the poem-
film on their smart Teacher makes
worksheet phone devices this explicit.
highlighting and upload 3. students are
the their footage to then instructed
specifications the shared that they are to
of the genre class Google make a 2-5
e.g. a length Drive. minute
not to be 3. Class views improvisation
considered a films. Teacher in response to
feature. leads the poem in
Teacher leads discussion: groups of four.
discussion what camera They will be
with essential angle was using the
question: used? How can improvisation
What are the we identify it? skills that they
key What camera have been
differences movement was taught in
between a used? How do previous
short film and you know? Did modules and
a feature the film convey are guided by
length film? meaning the game:
4. Students relevant to the Advancing and
write journal topic? If so Extending the
reflections how? If not Physical Offer*
around three why? 4. Students

26
 essential 4. Students present their
questions: write journal performances
What did we reflections and teacher
do? Why did around three guides
we do it? essential discussion:
What did I question: How was
learn about What did we meaning
myself as a do? Why did conveyed in the
performer? we do it? performance?
What did I What levels
learn about shapes and
myself as a movements
performer? were used to
convey this?
Teacher makes
link to short
film module
that the way
meaning is
constructed
here (through
the use of
shape, spatial
awareness,
movement and
image) are the
same in film
making
however, the
execution is
different.
5. Students
write journal
reflections
around three
essential
questions:
What did we
do? Why did
we do it?
What did I
learn about
myself as a
performer?

Evidence of Learning Self-Assessing their Successful Ability to understand

prior knowledge of summarisation of author intentions from
film as a discrete body important elements of a written text using
(M). filmmaking (A). literacy skills (AM).
Identification of filmic Applying film concepts Ability to transfer that
elements with Short into composing a meaning into a
Film example mini-film around a performance piece
Identifying the stimulus showing (TM).
27
 differences of Feature evidence of a building Demonstration of
and short films (A). discrete body of discrete body of
Contributing knowledge (TM). knowledge of
mindfully to teacher Identification of improvisation
discussion about camera angles and conventions (AT).
filmic concepts (M). movement(A). Ability to discuss
Ability to extrapolate meanings in
meaning from video performances and
(M) interpret how that
Collaboration in was conveyed (M).
groups (TMA). Collaboration in
groups (TMA).

Resources Computer, internet, Stimulus-Mother

Computer, internet, projector Sheet
projector
Worksheets/Slides Books
Tropfest Worksheet (camera angles,
camera movement,
Books composition, lighting
and colour, sound
YouTube clips: design and books

2007 Tropfest Smartphones/Chrome

Signature Item (TSI) Books
“Bubble” Shane and
Carmichael. YouTube clips:

Film Techniques for

Students

28
Week 2 Period 1 Period 2 Period 3
Key Outcomes 5.3.1 5.3.1 5.3.1

5.3.3 5.3.3 5.3.3

LS.2.1 LS.2.1 LS.2.1

LS.2.2 LS.2.2 LS.2.2

Key Concepts SmartPhone Impacts of Climate Impacts of Climate
FilmMaking: Camera Change: Society, Change: Personal,
Movements, Camera Environment, Local
Shots Governance
Developing Dramatic
Developing Dramatic Developing Dramatic Meaning:
Meaning: Stimulus Meaning: Plot, Collaboration,
Response, Characterisation, Film Creative Problem
Collaboration, Techniques Solving, Exploration
Brainstorming,
Creative Problem
Solving
Learning 1. Warm Up 1. Warm up 1. Warm up
Experiences Game: Yes* game: 21* game: Party
2. Students view: 2. Students break Quirks*
Mobile Film- into their 2. Students
Making: groups and present their
[Link] research answer to the
[Link]/w climate change homework
atch?v=x- around three question what
gfkXu8OpI core aspects are the
Students What is climate potential
answer the change? How impacts of
question: What does climate climate change
are the three change affect in my lifetime?
camera our: Teacher leads
movements Environment? students to
identified in Society? essential
the video and Politics? question: Why
what are those Students is climate
movements? present change one of
3. Stimulus poem findings. the most
Mother* is 3. Students significant
revisited and view:Dulce issues of our
students revise [Link] time? Students
the key themes [Link]/w reflect.
of the poem:. atch?v=14dFHs 3. Students break
Inform LEMhA And up into their
students for answer: groups and
this year’s Provide a brief continue to
event they are description of brainstorm
to use the the plot. (Who, short film
poem as what, concepts.
stimulus to when,where Teacher
create a 2 and why...) facilitates and
minute short How did the records where

29
 film persuading film addressed groups are up
an audience of the issue of to.
people to act climate 4. Teacher hands
on climate change? camera
change. Hand Consider these techniques
out assessment elements: revision sheet
task. Students Thematic students fill out
break into concerns, and complete
groups and characterisatio Kahoot quizz
brainstorm n, narrative, together on
ways that the factual Camera
Stimulus could information. Techniques
be What appealed 5. Students
incorporated to you about write journal
into a short the short film? reflections
film. Students (Plot, around three
share their characters, essential
favourite ideas setting, question:
with the class. sound etc). What did we
4. Students Describe one do? Why did
write journal piece of we do it?
reflections footage (shot What did I
around three size, camera learn about
essential angle) that myself as a
question: assisted in performer?
What did we creating
do? Why did tension and
we do it? dramatic
What did I meaning.
learn about 5. Students
myself as a write journal
performer? reflections
around three
essential
question:
What did we
do? Why did
we do it?
What did I
learn about
myself as a
performer?
6. Homework:
From
research:
answer the
question in
one page:
What will
what are the
potential
impacts of
climate

30
 change in my
lifetime?

Evidence of Learning Identification of Collaboration in Ability to contribute

camera techniques groups to research meaningfully to topic
and movements, links and convey to class discussions (M).
to previous class on the impacts of climate Ability to collaborate
techniques to change (AM). in groups to develop
demonstrate a Ability to articulate concept (TMA).
building of a discrete how meaning is made Initiative to ask
body of knowledge using correct terms questions and seek
(A). and metalanguage support (M).
Collaboration in (AM). Passing of Kahoot
groups to develop a Ability to understand Quiz (A).
film concept that how directors create
responds to the tension and dramatic
stimulus (TMA). meaning through film
techniques (AM).
Ability to reflect
meaningfully on the
creative process*

Resources Computer, internet, Computer, internet, Computer, internet,

projector projector projector

Stimulus: Mother Chromebooks Camera Techniques

Revision Sheet
Assessment Task Books
Books
Books YouTube clips:
Chromebooks/Smart
YouTube clips: Dulce Mobile Devices to
access Kahoot
Mobile Filmmaking

Week 3 Period 1 Period 2 Period 3

Key Outcomes 5.1.4 5.1.4 5.1.4

5.2.3 5.2.3 5.3.1

5.3.1 5.1.3 5.3.3

5.3.3 5.3.1 LS.2.1

LS.2.1 5.3.3 LS.2.2

LS.2.2 LS.1.3

31
 LS.3.2 LS.2.1

LS.2.2
Key Concepts Developing Dramatic Developing Dramatic Impacts of Climate
Meaning: Narrative Meaning: Frame Change: Stimulus
Structures, Story Compositions, Response, Literacy,
Circle, Collaboration, Smartphone Developing Dramatic
Creative Problem Filmmaking, Meaning: Stimulus
Solving, Exploration Collaboration, Response, Collaboration,
Creative Problem Creative Problem Solving
Solving, Numeracy,
Spatial Reasoning,
Patterns
Learning 1. Warm Up 1. Warm Up 1. Warm Up: 21
Experiences Game: One Game: Bang* 2. Teacher revisits
Word at a Time 2. Students View: stimulus poem
Fairy Tale* Framing Mother. Students
2. Students view: composition in review their
The Story film notes on meaning
Circle Template [Link] and annotation.
[Link] [Link]/w Teacher asks and
[Link]/w atch?v=9AGaEC students reflect
atch?v=rtk- t9j4g in journal: How
XBauqro and 3. With mobile does your short
are handed phones film concept
worksheet students in relate back to the
which outlines their groups Poem Mother
it. Students experiment and the climate
reflect in their with framing change stimulus?
log books: How compositions 3. Students are
does the story and how they advised to get
circle template can make into their groups
apply to your shapes with and discuss their
film? Where people and concepts and
could you add objects. select their final
the story circle 4. Teacher brings idea. Teacher
template to class together records final
your short film for reflection concept for each
concept? and review on group
3. Teacher Google Drive. 4. Students write
instructs How were the journal
students to get shapes made? reflections
into their What did they around three
groups and convey to you? essential
discuss what What meaning question: What
they have was did we do? Why
written. interpreted did we do it?
Teacher then from this? What did I learn
instructs 5. Students about myself as a
students that in write journal performer?
their groups reflections
students will around three
adapt their essential
32
 story to fit the question:
story circle What did we
template. do? Why did
Teacher we do it?
models and What did I
example first learn about
and then myself as a
facilitates for performer?
each group
4. Students
write journal
reflections
around three
essential
questions:
What did we
do? Why did
we do it?
What did I
learn about
myself as a
performer?
Evidence of Reflecting in writing Evidence of Ability to reflect and link
Learning how stories have transference by story concept to stimulus
patterns (M). students applying film (TM).
Ability to transfer concepts and Articulating their concept,
concept (with teacher metalanguage learnt clearly and concisely (TM)
assistance) to their to a mini-film (TM). Collaboration in groups
concept- developing a Contribution to (TMA).
narrative (T). discussion on how
Initiative to ask meaning was made
questions and seek and how composers
assistance (M). make meaning with
Collaboration in films (M).
groups (TMA). Collaboration in
groups (TMA).

Resources Computer, internet, Computer, internet,

projector projector Stimulus: Mother

Story Circle Smart Books

Worksheet Devices/Chromebook
/Google Drive Access
Books
YouTube clips:
YouTube clips:
Framing and
The Story Circle Composition in Film
Template

33
Week 4 Period 1 Period 2 Period 3
Key Outcomes 5.1.3 5.1.3 5.1.3

5.1.4 5.1.4 5.1.4

5.3.1 5.3.1 5.3.1

5.3.3 5.3.3 5.3.3

LS.2.1 LS.2.1 LS.2.1

LS.2.2 LS.2.2 LS.2.2

Key Concepts Developing Dramatic Developing Dramatic Developing Dramatic
Meaning: Script Meaning: Script Meaning: Subtext,
Writing, Narrative Writing, Narrative Script Writing
Structure, Structure, Creative Narrative Structure,
Collaboration, Problem Solving, Collaboration,
Creative Problem Collaboration Creative Problem
Solving Solving
Learning 1. Game: Inner 1. Game: Six 1. Game:
Experiences Monologue* Impossible Subtext*
2. Scriptwriting: Things Before 2. Students
students are Breakfast* continue to
allocated 2. Students work in their
specific continue script groups and
scenes to writing using finalise scripts.
script within their story Teacher
their group. circle template. reviews. If
This will be Teacher scripts are not
using the facilitates complete,
skills they 3. Students students will
learnt in year write journal complete in
9 reflections their own time
3. Teacher around three and delegate
instructs essential tasks during
students to questions: class. Scripts
use their What did we are uploaded
story circle do? Why did to Google Drive
template to we do it? 3. Students
write their What did I write journal
script. learn about reflections
Teacher myself as a around three
facilitates performer? essential
groups questions:
4. Students What did we
write journal do? Why did
reflections we do it?
around three What did I
essential learn about
question: myself as a
What did we performer?
do? Why did
we do it?
What did I
34
 learn about
myself as a
performer?

Evidence of Learning Ability to access past Ability to access past Ability to access past
learning and apply it learning and apply it learn and apply it to a
to a new context (T). to a new context (T). new context (T)..
By translating their By translating their By translating their
story circle narrative story circle narrative story circle narrative
structure into a script structure into a script structure into a script
(TM). (TM). (TM).
Collaboration in Collaboration in Collaboration in
groups (TMA). groups (TMA). groups (TMA).
Resources Books/Chromebooks Books/Chromebooks Books/Chromebooks

Story Circle Template Story Circle Template Story Circle Template

35
Week 5 Period 1 Period 2 Period 3

Key Outcomes 5.1.4 5.1.4 5.1.4

5.2.3 5.2.3 5.2.3

5.3.1 5.3.1 5.3.1

5.3.3 5.3.3 5.3.3

LS.2.1 LS.2.1 LS.2.1

LS.2.2 LS.2.2 LS.2.2

LS.3.2 LS.3.2 LS.3.2

Key Concepts Developing Dramatic Developing Dramatic Developing Dramatic
Meaning: Storyboards, Meaning: Camera Meaning: Storyboards,
Script Writing, Techniques, Script Writing,
Collaboration, Storyboards, Script Collaboration,
Creative Problem Writing, Collaboration, Creative Problem
Solving Creative Problem Solving
Solving

Learning 1. Students 1. Students are 1. Warm up

Experiences View: What is given camera game: The Gift
a Storyboard? angles revision Game.
[Link] worksheet and 2. Students
[Link]/ identify camera storyboard
watch?v=6aT angles. Teacher using the
nEanIXBk reinforces the templates and
2. Students are criteria for complete
introduced to storyboards scripts.
storyboarding need to identify 3. Teacher
. They clearly what assesses
complete the camera angles student
[Link] and progress.
acher models movements Student scripts
on the board they are going should be
how to to use. completed and
storyboard 2. Students storyboards
with a group storyboard finalised
volunteering using the 4. Students
a scene from templates and write journal
their script. continue reflections
3. Students are finalising around three
handed out scripts. essential
storyboard 3. Students question:
templates. In write journal What did we
their groups reflections do? Why did
36
 there are to around three we do it?
storyboard essential What did I
from their question: learn about
script. What did we myself as a
Students are do? Why did performer?
instructed to we do it?
delegate What did I
tasks, some learn about
students myself as a
finish their performer?
scripts others
begin their
storyboards.
Teacher
facilitates.

Week 6 Period 1 Period 2 Period 3

Key Ou 5.1.1 5.1.1 5.1.1

tcomes
5.1.3 5.1.3 5.1.3

5.2.3 5.2.3 5.2.3

5.3.1 5.3.1 5.3.1

5.3.3 5.3.3 5.3.3

LS.1.3 5.2.1 LS.1.3

LS.2.1 LS.1.3 LS.2.1

LS.2.2 LS.2.1 LS.2.2

LS.3.2 LS.2.2

LS.3.1
Key Co Developing Dramatic Meaning: Developing Dramatic Meaning: Developing Dramatic Meaning:
ncepts Smartphone Filmmaking, Film Smartphone Filmmaking, Film Smartphone Filmmaking, Film
Techniques, Experimentation, Techniques, Experimentation, Techniques, Experimentation,
Collaboration, Creative Problem Collaboration, Creative Problem Collaboration, Creative Problem
Solving, Thematic Concerns Solving, Storyboards, Camera Solving, Costume, Props,
Movement Priotising, Collaboration,
Creative Problem Solving

37
Learnin 1. Students View: How 1. Students View: Make 1. Students finalise their
g we Made a Short Film Sure You’re Missed: storyboards.
Experie on Iphone [Link] Continue rehearsals
nces [Link] com/watch?v=fQ8XY of their scenes.
com/watch?v=9an8R xdnG9s Students Teacher facilitates.
RMSF4o Students answer: Identify a 2. .Students write a list
answer questions: motif or symbol used then select their
What are three in the film to convey costume and props
techniques the the theme. What from drama room.
composers used to technqiue/s did the 3. Students View: INT.
convey meaning in composers use to Room
their films? What convey that meaning? [Link]
were the reasons 2. Rehearsal:in their com/watch?v=DMkcj
given for this? groups students nxPe8g and reflect:
2. The smartphone as a choose a scene from How did the
camera is introduced their storyboard to composer make
and the main features practice filming with. suspense, what
are identified. Students are to adhere techniques did he
Through teacher led to the information of use? Can you identify
discussion students the storyboards three camera angles
identify how their including camera shot in the film? What
smartphones can be and movement. elements from this
used to create their Footage is uploaded film would you
short film. Students to class’ Google incorporate into your
are instructed to Drive own?
download filmic pro- 3. Footage is reviewed.
a free and high quality Teacher facilitates
film making app. discussion: What
3. Students break into worked? What could
their groups, be incorporated?
nominate whose What would you do
phone/s they will use next time?
and experiment with
filmic pro.
4. Students delegate
group members to
complete their
storyboard if not
finalised.

Evidenc Identify and discuss film Identification of motifs and Storyboards and finalised and
e of techniques and conventions recurrent meanings and how completed (TMA).
Learnin (AM). they are conveyed through the Ability to delegate tasks and
g Ability to reflect and apply these use of film techniques (AM). prioritise in groups (T).
conventions to their group Ability to translate concepts on Reflection on film stimulus,
project (T). storyboard into a mini-film (T). identify meaning and connect
Collaboration in groups (TMA). Ability to reflect and identify how discrete body of knowledge to
these films can be improved own film (TMA).
(AM).
Resourc Computer, internet, projector Computer, internet, projector Computer, internet, projector
es
Smartphones Smartphones/Chromebooks/Goo Smartphones/Chromebook/
gleDrive Access Google Drive Access
Filmic Pro App
YouTube clips: Storyboard Template

38
YouTube clips:
Make Sure You’re Missed Books
How we Made a Short Film on
an Iphone Props Room for sourcing
costumes

YouTube clips:

INT. Room

39
References

ACARA. (2013). General Capabilities. Retrieved from

[Link]

Board of Studies (2003). 7-10 drama syllabus. Sydney, Australia: Board of Studies.

Board of Studies. (2009) Drama 11-12 syllabus. Retrieved from

[Link]

6-creative-arts/drama-syllabus

Broemmel, A. D., Jordan, J., & Whitsett, B. M. (2015). Learning to be teacher leaders: A framework for

assessment, planning, and instruction. Retrieved from [Link]

Didau, David. The Secret of Literacy : Making the implicit explicit, Crown House Publishing, 2014.

ProQuest Ebook Central,

[Link]

Fraser, Aitken, Price, & Whyte. (2012). Inquiry learning, drama and curriculum integration. Research

Information for Teachers, (3), 32-40.

Gamble, J. (2001). Modelling the Invisible: The pedagogy of craft apprenticeship. Studies in Continuing

Education, 23(2), 185-200.

Hart, J., Onuscheck, M., & Christel, M.T. (2016). acting It out: Using drama in the classroom to improve

student engagement, reading, and critical thinking. Retrieved from

[Link]

Jason Tomaric. (2013). Filmmaking. Focal Press. Retrieved from

[Link]

40
Jones, A., & Moreland, J. (2005). The importance of pedagogical content knowledge in assessment for

learning practices: A case-study of a whole-school approach. The Curriculum Journal, 16(2),

193-206.

Loreman, T., & Deppeler, J., Harvey, D. (2011). Inclusive education: Supporting diversity in the

classroom (2nd ed.). Crows Nest, Australia: Allen & Unwin.

Lundy, & Stephens. (2015). Beyond the Literal: Teaching Visual Literacy in the 21st Century

Classroom. Procedia - Social and Behavioral Sciences,174(C), 1057-1060.

McTighe, J., & Willis, J. (2019). Upgrade your teaching: Understanding by design meets neuroscience.

Retrieved from [Link]

My School. (2018). Retrieved August, 15, 2019, from [Link]

Saleh, M., Lazonder, A., W., & Jong, T., D. (2007). Structuring collaboration in mixed-ability groups to

promote verbal interaction, learning, and motivation of average-ability students. Contemporary

Educational Psychology, 32(3), 314-331.

Wiggins, G., & McTighe, J. (2011). The understanding by design guide to creating high-quality units.

Retrieved from [Link]

Wiggins, G., & McTighe, (2012a). The Understanding by design guide to advanced concepts in creating

and reviewing units. Alexandria, Va: ASCD.

Wiggins, G., & McTighe, J. (2012b). The understanding by design guide to refining units and reviewing

results. Retrieved from [Link]

Tremblay, G. (2013). Creating Art Environments That Address Social Justice Issues. International

Journal of Education & the Arts, 14, 1-13.

41
Zubizarreta, J. (2009). The Learning Portfolio: Reflective Practice for Improving Student Learning.

Retrieved from [Link]

42
Appendix

Mother, Author Unknown

I see her sitting on the bank of what once was a roaring river the iridescent lustre of the moonbeam

lulling the mighty waves to a gentle rest.

I see her sitting on the bank of what once was a roaring river now a guiltless gully.

I hear her the thundering gales of her heart barking at every limb, every muscle to just stand up

towards her battlements – but she hushes them murmurs words of comfort ease.

I hear her the thundering gales of her heart quietening to a silent protest…

“You must have been provider, nurturer, life-giver, fighter, leader, healer –

“You must have been wiyanga, majka, omm, mäe, moeder, tina, okaasan, ahm, ina, maji, induk, madre,

me, mataji, mana, ammee.”

“I was” she says as she pockets the stray strands of a plastic bag at her feet,

“I still can be.”

Games

21: A game that develops focus and group work. Students form a circle, focus themselves into the

middle of the circle and count to 21. No one can go twice, if people overlap you start again.

Advancing and Extending the Physical Offer: An Improvisation game in pairs. One student develops

a physical action and activity, another student adds to it. It advances and extends to tell a story.

Bang A Favorite student game that promotes energy and focus. One person stands in the middle of the

circle and points at an individual. The individual bops down and the two people on either say turn to
43
each other and say “bang”. The person who says it first wins. By process of elimination two are drawn

out to have a ‘dramatic” duel

The Gift Game Improvisation game which students give each other gifts. Students receiving the gift

must accept the size and shape of the gift and name it

Inner Monologue Students write an inner monologue for a character that will be in the short

[Link] si to understand the richness of text and how the unspoken is important for story telling in

film.

One Word at a Time Fairy Tale Improvisation games where students form a circle and create a story

one word at a time building on each other’s offers. Excellent feed in to exploring narrative structures.

Party Quirks Student favourite that involves a host and a list of students coming on as stock

characters. The host must guess what their party guests are.

Six Impossible Things Before Breakfast In their groups students come up with a situation. Students

have to incorporate six impossible things that happen. It can’t be treated as a joke. This helps feed

skills needed in the script writing phase of this unit.

Subtext This writing exercise is self explanatory. Students explore subtext byt choosing an everyday

situation between two people. They then write dialogue about what the characters really mean to say.

What Are You Doing? Improvisation game that involves one student performing a physical action

and another student asking them “what are you doing?” that student then comes up with a new

activity (the more ridiculous the better)of which the second student who asked the question must

enact. The cycle goes on.

44
Yes is a simple focus game of which students stand in a circle. One student begins by making eye

contact with another student. Once the other student locks eyes with the first, the student then says

“yes”. The first student then moves to the second student’s position. This cycle is repeated throughout

the circle.

45
 Original Documents

FILM MAKING

Unit Description:

The teaching and learning activities in this unit establish the conventions of the dramatic form of
Film. Students learn about the history of film, production roles, technical terms, storyboarding,
parts of a video camera, use of a video camera and digital editing.

Duration: Term Two (10 weeks)

Outcomes: Outcomes (life skills):

5.1.1 manipulates the elements of drama to LS.1.3: participates in drama experiences in
create belief, clarity and tension in character, which role-taking is used to enhance their
role, situation and action understanding of ideas and feelings
5.1.3 devises, interprets and enacts drama LS.2.1: explores dramatic forms and theatrical
using scripted and unscripted material or text conventions
5.1.4 explores, structures and refines ideas LS.2.2: participates in the preparation of drama
using dramatic forms, performance styles, works and theatrical productions
dramatic techniques, theatrical conventions LS.3.1: experiences a variety of drama or theatre
and technologies. performances
5.2.1 applies acting and performance LS.3.2: identifies and responds to the elements of
techniques expressively and collaboratively drama or theatre in performances
to communicate dramatic meaning
5.2.3 employs a variety of dramatic forms,
performance styles, dramatic techniques,
theatrical conventions and technologies to
create dramatic meaning.
5.3.1 responds to, reflects on and evaluates
elements of drama, dramatic forms,
performance styles, dramatic techniques and
theatrical conventions
5.3.3 analyses and evaluates the contribution
of individuals and groups to processes and
performances in drama using relevant drama
concepts and terminology.
Subject specific requirements: Resource Overview:
● No prior knowledge necessary for ● Worksheets
students participating in this course. ● Camera- Video
● Students will be issued with a workbook ● Tripod
● Appropriate Drama Studio Space (safe ● Whiteboard and markers
flooring, mirrors) ● Projector linked to a computer (drama room if
● Access to a multimedia space available)
● Laptops/computers

46
Methods of Assessment: Feedback:
● Feedback will be educative in nature.
Task 2: (25%) ● Feedback will be given in a timely manner.
Immediately where possible.
● Feedback will be sensitive to the
DUE: Week 9 individual needs of the student.
● Feedback will reference specific
A. In-class short film presentation (70%) movement skills or theoretical knowledge
both verbally and in written form (where
In groups of 3-4, students are to produce a short film 2 minutes
appropriate)
in length based on a SI(Signature Item) given ● byFeedback
the teacher
can(Clock)
be given generally to the
and present to the class. They are to: class and where appropriate one to one.
- Delegate Production Roles ● Feedback will be given verbally and
- Utilise technical terms correctly nonverbally (gesture) in class, in written
- Present a Script form in their logbooks and assessment
- Complete a group Storyboard sheets.
● Feedback will be delivered positively.
- Edit their videos
When an improvement is needed feedback
Students will present their film, along with theirshould
individual
include what the student is doing
documented process (logbook) well. Ideally in a
positive/negative/positive ‘sandwich’
B. Logbook (30%) ● Students will also be asked to give
feedback on themselves. Focusing on
Each fortnight, students’ logbooks will be collected
and assessed at the end of each class. Logbooksability.
● Where possible a second marker will be
should detail what has been completed in each lesson.
used for assessment. Providing the
students with a greater range of feedback.

Adjustments for specific learning needs:

Most students require adjustments. Most students have issues with performing for
assessment. Most cognitive students present with social/emotional adjustments also.
STUDENTS:

JJ:
BK:
RR:
ES:
BW:

● Re-arranged lessons to incorporate periods of high engagement

● Provided a quiet area within the classroom
● Considered preferential seating around supportive peers
● Broken tasks down into smaller, manageable steps

47
 ● Incorporated frequent revision activities and study notes
● Issued handouts of summaries and lesson notes
● Provided explicit group roles for group performance tasks
● Matched cognitive demands to ability
● Arranged for singular assessment and presentation of performance

Evaluation: Completed

Class: 10DRA1
Teacher: Mr Callum Lofts
Year: 2019
Element Evaluation

Program ● I think the program is very well

structured and coherent. I appreciate the
● Was the program well-structured and
use of ICT in almost every task in that
coherent?
Drama students are generally visual
● To what extent did the program
learners and modelling technique with
engage all students in the class?
examples of performance through video,
● Did the program assist all students to
assists students in piecing together verbal
achieve the learning outcomes?
instruction. I supplement the information
● What improvements could be made?
contained within worksheets with other
resources and activities such as
improvisation warm ups/ games to keep
students engaged.
● The program engaged students very well.
There is plenty of scope to cater to the
individual needs and learning styles for
all students and allows all students equal
access to the curriculum. Plenty of
physical activity required student
attention and focus.
● I believe all students were able to achieve
the learning outcomes. The very nature
of language learning offers great scope for
differentiation of the curriculum and it
was great to see students with learning
adjustments, involved in all aspects of the

48
 course, and achieving great results.
● Drama Journal is a requirement of the
theoretical approach to theatre. Some
students are reluctant to make the effort
because it requires heavy writing and
critical evaluation of lessons.
Improvements could be to create ever-
increasing fun ways to engage the
students in the reflection process and set
regular deadlines. Perhaps allowing extra
class time to write and build a journal as a
class would encourage students. More
time is needed on modelling how to use
Movie Maker. Not all students are
computer literate.

Resources ● Resources are appropriate in terms of age

level, variety and the ability to engage the
● Were the resources used
students. Students are heavily involved in
appropriately in terms of age level,
ICT and have easy accessibility to all clips
variety and the ability to engage the
and videos used. Drama blocks, costumes
students?
and props are readily available in the
● What improvements could be made?
Drama room for students to engage with
and enhance their production.
● Improvements – taking the initiative to
constantly create, revise, renew and
reinvigorate resources to capture the
attention of students and keep them
engaged, to be on the constant lookout for
new and exciting resources from outside
sources and to engage in professional
learning. Worksheets if and when utilised
could be more aesthetically appealing.
More physical engagement is
needed for this particular class; perhaps
more use of written work involving the
whiteboard.

49
Assessment ● I believe that the assessment task
schedule contains a variety of different
● Did the program incorporate a range
tasks which caters to the needs of
of quality, valid assessment tasks?
individual learners and satisfies the
● What improvements could be made to
requirements of the syllabus.
assist students to achieve the
● Improvements to assist students to
outcomes?
achieve the outcomes would include more
● Reflect and comment on the level of
teacher time to attend to individual
student achievement in this program.
learning needs, greater resources for
teacher aids in the classroom and time for
professional development. Also I would
endeavour to set smaller, more
personalised goals with specific students
as they respond better with deadlines if
they are met one on one with the teacher.
● I am impressed with the progress my
class has made this term. Those who
began reluctantly have performed
exceptionally well and boosted their
confidence over time. It is so warming to
see students utilise theatre as their coping
mechanism for emotional, mental and
physical support.

50
 Learning Experiences and Assessment Opportunities
Content Per Ma App Resources: Date / Comments
for kin reci
mi g atin
ng g

1. Opening Discussion: x 1. Computer,

Students view a variety of internet,
Tropfest films and answer projector
questions 1-5 for each clip.

1. Name this short film.

2. Provide a brief description of

the plot. (Who, what, when,

where and why...)

3. How was the TSI incorporated?

4. What made it a good short film?

(Plot, characters, setting,

sound etc)

5. Describe one piece of footage

(shot size, camera angle)

that assisted in creating tension

and dramatic meaning.

YouTube clips:

2007 Tropfest Signature Item

(TSI) “Bubble” Shane and
Carmichael.

2009 Tropfest Signature Item (TSI)

“Spring”

Bargain

Be My Brother

2010 TSI “Dice”

Smoking Will Kill You

The Last Roll of the Dice

x
51
2011 TSI “Key”

A Desperate Deed

Silencer

Flight

2011 Tropfest Junior Winner – TSI X 2. Worksheets

“Fan” and books

Imagine

2. The History of Film: Students

are to create a timeline spanning
from the late 1800’s through to the x 3.
present. Read ‘A History of Film
and Television’ and ask students
to plot key developments on their
timeline.

Students should discuss the

similarities and differences x X
between live theatre and film and 4. Chromebooks,
television. google drive (to
x share slides)
3. Inform students of the TSI for
this year’s event. Students should
break into groups and brainstorm x X
ways that the TSI could be
incorporated into a short film.
Students share their favourite x
ideas with the class.
5.
4. Students are given a series of x x
slides to transform into their own
summary list of technical terms.
The powerpoint slides are: 6. Chromebooks
● camera Angles x X
● Camera Movement
● Composition
● Lighting and Colour x X 7. Worksheets
● Sound Design x

5. The groups discuss their X

concepts and select their final idea 8. Templates

6. Scriptwriting: students are

allocated specific scenes to script
within their group. x x

52
7. Students are introduced to 9. camera
storyboarding and the directors
concept and vision. They complete x
the worksheet.

8. Students storyboard using the x 10. Costume and

templates props

x 11. Script and

storyboards

9. The camera is introduced and

the main features are identified. 12. Videos and
projector
x
[Link] write a list then select
their costume and props.
Consistency for filming is also
discussed.
13. Microsoft
11. Rehearsal Move Maker
editing software
12. Filming done in small groups, Computers,
whilst filming other groups will be filmed material
in a classroom watching films and
discussing the use of technical
elements to enhance the film
14. worksheet
[Link] (flush out intro editing,
give them editing time, see what
comes up that needs to be further
explained- create a worksheet for
this)

14. Final Questions sheets

distributed for self reflection

53
 DRAMA: Scope and Sequence
Stage 5: Year 10
2018
Week Week Week Week Week Week Week Week Week Week
1 2 3 4 5 6 7 8 9 10
Title: Compulsory Context: Playbuilding with Comedy

Unit Description:
T This 25hr unit aims to introduce students to the world of comedy through the use of
e Playbuilding. Exploring the different styles and history of Comedy in Drama, students are
encouraged to manipulate the Elements of Drama to make, perform and appreciate other
r
pieces and their own. Students learn about Pranks, Medieval Comedy, Shakespearean
m
Comedy, Slapstick and Parody. This unit also looks at appreciating current Comedies.
Australian comedy is specifically addressed and Australian comedians such as Chris Lilley are
1
studies. Students will make, perform and appreciate their comedy performance.

Outcomes: 5.1.1, 5.1.3, 5.1.4, 5.2.3, 5.3.2, 5.3.3 Life Skills

Outcomes: LS.1.1, LS.1.2, LS 2.1, LS.2.2, LS.3.1, LS.3.2

54
 Lesson frequency: 5x1 hour lessons per fortnight.

Title: Compulsory Context. Dramatic Form: Film Making

Unit Description:
This 25hr unit aims to establish the conventions of the dramatic form of Film. Students
T explore a brief history of film, production roles, technical terms, storyboarding, parts of the
e video camera, use of a digital camera and editing. Students learn to perform various roles in
order to create a short film collaboratively. The emphasis is on the making of a film
r
screenplay, utilising film techniques and the editing process. Students will present a
m
documented process with a final in-class assessment presentation of their film. Students are
encouraged to utilise correct filmmaking terminology in their discussions and written
2
responses.

Focus Outcome Codes: 5.1.1, 5.1.2, 5.1.3,5.1.4,5.2.3,5.3.3 Life Skills

Outcomes: LS 1.3, LS.2.1, LS.2.2, LS.3.1, LS.3.2
Lesson frequency: 5x1 hour lessons per fortnight.
Title: Compulsory Context. Performance Style: Verbatim Theatre

Unit Description:
This 25hr unit fulfils the requirements of Essential Content ‘Playbuilding’ and Additional
content ‘Verbatim Theatre’ as outlined in the Drama Syllabus. Students engage in integrated
T learning experiences from the three practices of making, performing and appreciating drama.
e Students will be introduced to relevant drama terminology as well as the function of their
r drama logbook throughout this unit of work. Students will view “Cyberbile” by Alana
m Valentine as a text to model the features of a Verbatim performance. Students will create an
original Verbatim performance in groups and document their individual process in their
3 logbooks. After weeks of preparation, students perform their piece as a formal assessment in
class.
Focus Outcome Codes: 5.1.1, 5.1.3, 5.2.1, 5.2.2, 5.3.1,5.3.2 Life Skills
Outcomes: LS1.1, LS 1.2, LS 1.3, LS 2.1, LS 3.1, LS 3.2, LS 3.3
Lesson frequency: 5x1 hour lessons per fortnight.

Title: Performance Style: Physical Theatre

T Unit Description:
e
This unit delves into a range of teacher directed Physical Theatre activities, where the body in
r space is used as the main means of communication . Students are guided through a safe and
m secure physical program, learning all the basics for creative execution of physical
performances. Students also research Physical Theatre companies to contribute ideas to a
4 whole class developed work. As a final assessment, students are encouraged to collate,
collaborate and facilitate a performance of a chosen poem (poem read by separate class
member in audience in order to keep timing) whereby all techniques learnt are utilised and
55
 performed to the class in a 2-3 minute physical theatre performance.
Focus Outcome Codes: 5.1.1, 5.1.2, 5.1.3, 5.1.4, 5.2.1, 5.2.2, 5.3.1, 5.3.2
Life Skills Outcomes Codes: LS 1.3, LS 2.1, LS 2.2, LS 3.1
Lesson frequency: 5x1 hour lessons per fortnight.

CAPA ASSESSMENT TASK

CAPA
YEAR 10 Drama
Task Number: 3 Date Issued: Date Due: Maximum Marks: Weighting: 25%
Term 2 Week 2 Term 2 Week 9
Student Name:
TOPIC: Filmmaking
Outcomes to be assessed:
5.1.1 manipulates the elements of drama to create belief, clarity and tension in character, role,
situation and action
5.1.3 devises, interprets and enacts drama using scripted and unscripted material or text
5.1.4 explores, structures and refines ideas using dramatic forms, performance styles, dramatic
techniques, theatrical conventions and technologies.
5.2.1 applies acting and performance techniques expressively and collaboratively to
communicate dramatic meaning
5.2.3 employs a variety of dramatic forms, performance styles, dramatic techniques, theatrical
conventions and technologies to create dramatic meaning.
5.3.1 responds to, reflects on and evaluates elements of drama, dramatic forms, performance
styles, dramatic techniques and theatrical conventions
5.3.3 analyses and evaluates the contribution of individuals and groups to processes and
performances in drama using relevant drama concepts and terminology.

Task Description:
Task:
A. In-class short film presentation (70%)
In groups of 4, students are to produce a short film 2-5 minutes in length based on a SI
(Signature Item) given by the teacher and present to the class. They are to:
- Delegate Production Roles to each group member
- Write a Screenplay (Script)
- Utilise technical terms correctly and process their given role in their logs
- Complete a group Storyboard
- Edit their video
Students will present their film, along with their individual documented process (logbook)

B. Logbook (30%)
Each fortnight, students’ logbooks will be collected and assessed at the end of each class.
Logbooks should detail what has been completed in each lesson (class work and assessment
related)

Marking Criteria:
MARKING GUIDE
A.
56
 Band A student in this band demonstrates:
A ● Outstanding use of film techniques(camera angles, camera
90-100% movement, lighting/sound)
● Very Clear structure of character, role, situation and action
● Outstanding script/dialogue
● Outstanding use of Signature Item
B ● Excellent use of film techniques (camera angles, camera movement,
66-89% lighting/sound)
● Clear structure of character, role, situation and action
● Excellent script/dialogue
● Excellent use of Signature Item
C ● Good use of film techniques (camera angles, camera movement,
50-65% lighting/sound)
● Some clear structural moments of character, role, situation and
action
● Good script/dialogue
● Good use of Signature Item
D ● Basic use of film techniques (camera angles, camera movement,
30-49% lighting/sound)
● Some basic structural moments of character, role, situation and
action
● Basic script/dialogue
● Basic use of Signature Item
E ● Little to no use of film techniques (camera angles, camera
0-29% movement, lighting/sound)
● Minimal structural moments of character, role, situation and action
● Minimal dialogue
● Minimal use of Signature Item

MARKING GUIDE
B.
Band A student in this band demonstrates:
A ● Very clear journal that documents the process
90-100%
B ● Clear journal that documents the process
66-89%
C ● Some clear journal entries that documents the process
50-65%
D ● Some basic journal entries that may document the process
30-49%
E ● Little to no journal entries.
0-29%
Feedback:
Written feedback with individual marks given.
Your work must not have photocopied information, nor material that is simply pasted in from
computer sources such as the Internet. While these are suitable references, the information in
your work should be in your own words. A bibliography must be included where appropriate.
In the event that your printer fails your work must still be submitted on the due date.

Approved

57
Head Teacher, CAPA

58