Stage 2 English Responding to Texts

539443J
Assessment Sheet Text Response Film ‘The Dressmaker’ directed by Jocelyn Moorhouse
Task: Complete a critical response in chosen form to reflect understanding of techniques used in ‘The Dressmaker’.
Choose one of the tasks below to demonstrate your genuine understanding of a range of aspects in the film. Choice
of tasks:
• Write the script for a conversation/ interview between yourself and the director of the film Jocelyn
Moorhouse.
• Choose one or more key scenes from the film.
• Use conventions of writing a magazine article: headings, subheadings and visuals, to respond to the film.
1. Write an essay discussing the techniques used by the director in making the film.
Length: Written up to 1000 words OR Multi modal ( up to: 12 frames or equivalent / 3 mins oral / 200 words
written text) OR Oral text up to a maximum of 6 minutes in length.

Performance Standards for Stage 2 English

- Knowledge and Understanding Analysis Application

A Comprehensive knowledge and Complex analysis of ideas, Versatile and precise use of
understanding of ideas and perspectives perspectives, and/or aspects of language and stylistic features to
in a range of texts. culture represented in texts. create a wide range of coherent
texts that address the purpose,
Thorough knowledge and understanding Perceptive analysis of language audience, and context.
of the ways in which creators of texts use features, stylistic features, and
a range of language features, stylistic conventions used in texts, and Fluently integrated use of
features, and conventions to make thoughtful evaluation of how evidence from texts to develop
meaning. these influence audiences. and support a response.
Extensive knowledge and understanding Critical analysis of similarities Sophisticated use of accurate,
of a wide range of ways in which texts and differences when comparing clear, and fluent expression.
are created for different purposes, texts.
audiences, and contexts.

B Knowledge and understanding of ideas Detailed analysis of ideas, Accurate use of language and
and perspectives in a range of texts. perspectives, and/or aspects of stylistic features to create a
culture represented in texts. range of coherent texts that
Knowledge and understanding of the address the purpose, context,
ways in which creators of texts use a Detailed analysis of language and audience.
range of language features, stylistic features, stylistic features, and
features, and conventions to make conventions, and evaluation of Appropriate use of evidence
meaning. how these influence audiences. from texts to develop and
support a response.
Knowledge and understanding of a range Clear analysis of similarities and
of ways in which texts are created for differences when comparing Consistent use of accurate,
different purposes, contexts, and texts. clear, and fluent expression.
audiences.

C Knowledge and understanding of some Analysis of some ideas and Generally accurate use of
ideas and perspectives in texts. perspectives represented in language and stylistic features to
texts. create texts that address the
Knowledge and understanding of the purpose, context, and audience.
ways in which creators of texts use some Description and some analysis
language features, stylistic features, and of different language features, Selection of some evidence from
conventions to make meaning. stylistic features, and texts to develop and support a
conventions, and/or some response.
Knowledge and understanding ways in evaluation of how these
which everyday texts are created for influence audiences. Appropriate use of accurate,
different purposes, contexts, and clear, and fluent expression.
audiences. Analysis of some similarities and
differences when comparing
texts.

Comment:

Grade:______
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Australian Film Magazine:

An Unconventional
Revenge Story.

Transcript of interview with Jocelyn Moorhouse by The

Australian Film Magazine.
extremely sexist society; where its seclusion allowed

T he Dressmaker, directed by Jocelyn Moorhouse,

is a quirky, avant-garde tale of redemption, peppered
many morally questionable or discriminatory acts to
elude exposure.

There’s little surprise that Australian society in the

with revenge, tragedy and humour – all set in a 50s was a highly sexiest one. In turn, complex
fictional Australian outback town of Dungatar in the relationships between characters help create a
1950s. In the film, Moorhouse, provided a rare glimpse setting that would best express this social
of past Australian culture and the impact it had on oppression. Evan Pettyman’s manipulation of
rural communities at the time. Marigold is an example of this. He not only utilises
his authority to deprive her of her financial freedom,
Thank you for being here. I would like to start by but also uses drugs and sexual abuse to meet his
asking how the 1950’s aspects of culture needs; all the while scandalously parading with
contributed in shaping the Dungatar community other women.
and the film?
The perpetual manipulation and ongoing suffering
JM: To begin with, applying different stereotypical of compulsive OCD, which was precipitated by the
characteristics that would have been evident in a sudden death of her son, blinds Marigold from
1950s rural town of Australia – from the dusty plains seeing the truth of her horrid husband. Needless to
of the outback and the Golden Fleece sign – was very say, he also had the final say in exiling Tilly away
important in establishing credibility behind an from Dungatar, overruling Molly’s parental rights.
Marigold is thus not defined by her individual
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identity, but rather by her male counterpart; the hill, is captured using the low-angled shots to
restricting her both physically and emotionally. highlight not only the completion of her revenge, but
Their relationship serves as a primary exemplar of also her transformation.
the extremely sexiest society evident in Dungatar.
Finally, what were the underlying reasons for
One thing I noticed in the film was how a range of placing so much focus on fashion in the film?
camera techniques were utilised to create
scenery. Can you share some specific shots and JM: As mentioned in the title, focusing on fashion is
explain why were they used? one of the most important symbolic representations
I utilised. As reflected on Dungatar’s residents,
fashion of rural Australia in the 1950s was plain.
Tilly’s dresses starkly contrasted this, portraying an
exaggeration of vibrant colours that reflects self-
confidence and empowerment. In one of the most
iconic scenes of the film, Tilly shows up to a football
game in a bright red couture gown to distract the
townsfolk and players with impactful colours and
her stunning figure. Even the black dress she later
JM: To capture the vastness of the Australian changes into, causes distraction among the opposing
outback, I frequently applied wide panning shots football team - to such a degree that Dungatar wins
and bird’s eye view when filming Dungatar. For the match. But of course, the colours used in this film
instance, in the very beginning of the film, a bus Tilly instil a deeper meaning where the colour “red”
is on to get into Dungatar is captured from bird’s eye foreshadows in the final enactment of her revenge
view and panning shots accentuate barren when she uses the aforementioned roll of red fabric
farmlands and arid surroundings. This not only in paraffin to burn the town. The burning of red
helped to establish how desolated and barren the fabric is also a symbol of Tilly herself, who has
town was, but also highlights how extremely blazed into town wearing a red dress, all the while
damning behaviours were easily hidden in the cleansing the curse she has been under to move on.
emptiness of the outback. All the colourful dresses presented throughout the
film therefore presages the trap created by Tilly;
Angled shots were also very notable in this film. In ensnaring the people of Dungatar into accepting and
early scenery, I focused on the extensive use of low- even needing her.
angled shots of Mayor Pettyman in a position of
power in contrast to the high-angled shots of
Marigold. Such shots helped me to express the
power Pettyman had over the other, whilst also
emphasizing the shift in power in the latter parts of
the film, where Marigold looks down upon Evan as
she murders him.

This shot-usage and accompanying power-play is

also evident with Tilly and the townsfolk. In the An extension of this idea is the use of the Singer
moments of Tilly’s flashbacks as young ‘Myrtle Sewing Machine; the primary “weapon” Tilly uses to
Dunnage’, she is frequently captured from wide and exercise her extraordinary dressmaking skills and
high angles to emphasize her small, defenceless regain acceptance within Dungatar. Although the
stature. This is maintained upon her return to sewing machine appears to be a seemingly innocent
Dungatar as a grown-up, indicating that she is still tool, it in fact sets the foundation for her revenge on
insignificant in the eyes of the townspeople. Only the townsfolk who wronged her. As Tilly begins to
when she successfully wins over the townsfolk with win the hearts of women whom she has dressed, so
her dressmaking skills are medium shots utilised too does the narrow-minded people of Dungatar
more frequently, indicating that she was, for the time change. It is hence all the more satisfying that she
being, their equal. Tilly’s argument with Ms. uses the Singer Sewing Machine to enact the last step
Harridiene at school is a good example of this. of her revenge; where she assists the competing
Capturing Tilly in a levelled medium shot contrasted town’s Winyerp Drama Club by making their
shots from her inferior-past. The use of low-angled kimonos.
shots in the finale further accentuates this. Tilly’s
position atop the red carpet of triumph draped down
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Well, I am sure its message of self-empowerment
is one that resonate with many viewers. We will
all look forward to your future works.

JM: Thank you.

The Dressmaker will be available on Netflix from

March 30th.

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