creative

This is Thomas REDWARD who was born 01/06/1838. He married Mary EASON in 1871 and they had 8 children – my great grandmother Edith Mary was the oldest of these.

Welcome to our family history page. The first photo I want to share with you is that of Frank (Francis William) Long and his wife Edith Mary(nee Redward). Frank and Edith were married in Napier, New Zealand on 17/4/1897. Edith was the eldest child of Thomas and Mary Redward. Edith was born in 1872, was a member of the Women/s National Reserve, having held the position of both secretary and treasurer of the organisation. She played the organ in the Presbyterian Church and was Librarian of the Thames (N.Z.)Public Library from 1925.

A good model for discussing interrelationships between media and society
http://www.media-visions.com/communication.html

also a very useful vocab site
Kolker, Robert. “Glossary.” Film, Form, and Culture. New York: McGraw-Hill Higher Education, 2002.http://journalism.wlu.edu/J338/vocabulary.htm (film vocab)

Sound http://www.tpt.org/newtons/12/movisnd.html
Lighting Is All About Chiaroscuro by Walter Graff http://www.film-and-video.com/broadcastvideoexamples-Chiaroscuro.html 19/09/05

This is a great set of questions for you to think about when analysing any media message:
*who created this media message and why are they sending it?
Who owns and profits from this message (stakeholders)?
What techniques are used to attract and maintain viewer/reader attention?
What lifestyles, values and viewpoints are represented in this message?
What is left out of this message and why?
What are some ways that different people (e.g. rich/poor) might interpret this message?

Best of luck with the rest of the exams. Don’t hesitate to email me if there is something specific you need with your production or any other standards.
Pay your money to the school office for the production day – we must have numbers in order to go ahead.

http://english.unitecnology.ac.nz/resources/units/words_images/close.html

Useful for exam revision – you will be doing this.
How is colour used to communicate a mood to the audience/reader?

How is colour used to make the information have impact, or stand out?

What form of balance is used to create impact? How is the impact achieved?

Is the heading bold enough to be noticed at a distance?

Has the title or heading been given any special treatment? Why was this done?

Has the border been given any special treatment? Why was this done?

How has a sense of harmony been maintained in the layout?

Does the material look cluttered? Why or why not?

What are the main ideas? In what way are they identifiable from the layout?

How is the viewer’s eye drawn into the layout?

Are the illustrations linked to the content?

Are any symbols used to illustrate the content?

Is there any aspect of originality employed? What was achieved by this?

http://english.unitecnology.ac.nz/resources/units/words_images/close.html
This link is good revision for interpreting static images – needed for exam.

Link on English online – you may need to copy and paste the link rather than click on it.
http://english.unitecnology.ac.nz/resources/units/create_char/language_features.html

http://english.unitecnology.ac.nz/resources/resources/exp_lang/more_visual_graphic.html

Shakespeare: What on earth’s the point? Sue Shearman I have huge problems with Shakespeare. You see, people don’t like the stuff. They think he’s boring. They find the plays and poetry really hard to understand. ‘Shakespeare is rubbish’ is something I heard from an adult two days ago and I’m used to hearing it from pupils. Teachers don’t like teaching Shakespeare – just look at the staffroom if you don’t believe me. Why? 1. He’s boring.
All those l-o-n-g speeches- in poetry, for goodness’ sake. No-one talks in poetry! Of course, a lot of people in Shakespeare don’t speak poetry, either. Even Hamlet sometimes abandons it. Iago does it all the time.

2. And the plays are too long.
Actually, they aren’t. No Shakespeare play runs for more than 2 ½ hours (without an interval). This two hours’ traffic of our stage’ is not dramatic licence; it’s Shakespeare telling his audience how long they were going to be there. And don’t say ‘What about Hamlet?. There is no copy of Shakespeare’s Hamlet as performed by The Chamberlain’s Men in existence. 3. The language.
Thou, thy, hast – oh, sorry if you come from Yorkshire. And I’m not sure where we’d be without words like assassination, puke, moonbeam, generous and the other 1700 or so words Shakespeare gave to the language: then there’s ‘dead as a doornail’, ‘in one fell swoop’, bloody minded’, ‘fair play’. It’s OK, I’ve stopped now. 4. He’s irrelevant.
It’s the 21st century. We don’t want stuff that was written 400 years ago. Unless you’re East Enders, of course – and lift the story of Romeo and Juliet practically wholesale for Leo and Demi’s plot line. (Warring families, secret meetings, suicide through misunderstanding.) Or in real life, you are Saddam Hussein or one of his ministers and refuse to believe that Americans are in charge of your main airport: ‘I look’d toward Birnam, and anon, methought,
The wood began to move. MACBETH
Liar and slave! and you think that the best way to dispose of those who don’t support you is to kill them:
‘Hang them that talk of fear!’ Anyone seen 10 Things I Hate About You? It’s Taming of the Shrew and kids love it. 5. Anyway, the comedies aren’t funny.
Well, there you have me – except that they aren’t meant to be funny. They are just meant to be plays with a happy ending. Merchant of Venice is a comedy after all. Oh, yes it is! All the plays have comedy in them and I can’t think of one without a ‘clown’ at the moment.

Romeo and Juliet is very funny. Especially the balcony scene.

Sure, some of the jokes don’t work any more. The very beginning of Romeo and Juliet is singularly unfunny, but half a dozen lines in and Samson and Gregory’s puns on ‘heads’ and ‘maidens’ is as fresh as it was when it was written and try ‘my naked weapon is out’ on any adolescent boy! The satire which would have been immediately clear to Shakespeare’s audiences is lost on us without a bit of research. Richard III is a hunchback, not because there is any historical evidence, (there isn’t), but because the character is a satire on Robert Cecil and Achilles in ‘Troilus and Cressida’ is a very unflattering portrait of the Earl of Essex. 6. So, why don’t we like Shakespeare?
Ask Hamlet – he’s got the answer. The trouble is that we don’t listen to him – or, rather, we don’t listen to Shakespeare’s words in his mouth:
‘Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue. But if you mouth it, as some of your players do, I’d as lief the town crier spoke my lines.’
Most productions, nearly all teachers and all examining bodies ignore Shakespeare’s advice. Shakespeare wrote his plays to be performed ‘trippingly on the tongue’, not to be studied, anaysed or ‘mouthed’ – it means to ‘pronounce all the words very, very carefully and s-l-o-w-l-y’. We look at them – and teach them – as ‘Literature’. They aren’t. But that’s a whole other debate!