DEC Scan Journal : February 2013
Volume 32, February 2013 28 Contents Editorial Currents Teaching & learning Research Curriculum support Share this Resource reviews view and the impact of this variation on interpretive possibilities of literary narratives. For example, in Year 3 it is expected that students will: Identify the point of view in a text and suggest alternative points of view ... recognising that there is more than one way of looking at the same event and that stories seen through the eyes of one character privileges some aspects of the story over others (ACELY1675). And in Year 5 students will: Recognise that ideas in literary texts can be conveyed from different viewpoints, which can lead to different kinds of interpretations and responses ... examining texts written from different narrative points of view and discussing what information the audience can access, how this impacts on the audience’s sympathies, and why an author might choose a particular narrative point of view (ACELT 1610). Point of view: focalisation and rear view images in Shaun Tan’s The lost thing Learning about analysing transmedia narratives will enable students to develop greater explicit knowledge of how semiotic resources of image and language make meaning, and will equip them with the skills needed to interpret and construct multimodal texts. Introduction The new Australian Curriculum in English to be adopted or adapted by all Australian states, in its statements of expectations for students from the very early years of schooling, makes prolific reference to learning about variation in narrative point of animated movie adaptations Point of view in and picture books Len Unsworth is Professor in Education at Griffith University in Brisbane, Australia. Author of many literacy focused publications, Len has been a chief investigator on five Australian Research Council funded projects since 2005 including two ARC Linkage Projects with the NSW Department of Education and Communities and the Australian Children’s Television Foundation as industry partners. Shaun Tan’s website Images from The lost thing appear with permission from Hachette Australia. Film stills appear with permission © Passion Pictures Australia & Screen Australia Black and white characters appear throughout the article with permission from Shaun Tan.