VCE · Text Response
Text Response: What does Wilder suggest about the pursuit…
VCE Text Response essay scoring 87.5%: Billy Wilder’s Sunset Boulevard offers a scathing indictment of the pursuit of fame, dismantling Hollywood’s…
Billy Wilder’s Sunset Boulevard offers a scathing indictment of the pursuit of fame, dismantling Hollywood’s glamorous veneer to reveal a predatory system sustained by delusion, exploitation, and spectacle. Rather than presenting fame as the pinnacle of success, Wilder exposes it as a corrosive force that erodes morality and identity, rewarding performance over authenticity. Through the tragic trajectories of Joe Gillis and Norma Desmond, Wilder suggests that the relentless pursuit of external validation not only dehumanises individuals but also implicates the society that consumes their suffering as entertainment.
From its opening sequence, the film subverts conventional representations of Hollywood glamour. The camera descends into a murky gutter before revealing Joe’s lifeless body floating in a swimming pool, immediately associating the dream of stardom with decay and death. This inversion of expectation establishes fame not as aspiration, but as fatal delusion. The presence of a homicide squad “complete with newspaper men” because an “old-time star” is involved underscores society’s fascination with spectacle. Rather than mourning Joe, the reporters metaphorically “harpoon” his corpse, reducing him to an “item” of interest. Wilder thus reveals how tragedy itself becomes commodified, transformed into consumable entertainment for a voyeuristic public. Fame, in this world, is inseparable from exploitation.
Joe Gillis embodies the moral degradation induced by the pursuit of success. Introduced as a struggling screenwriter “grinding out” stories in a dressing gown, Joe is financially desperate and emotionally adrift. His car faces repossession; his scripts are dismissed as “dead as a doornail.” Yet rather than confront his failures, Joe adopts a sardonic, performative persona. He refers to bill collectors as his “fans,” clinging to the illusion of relevance. Wilder suggests that Joe’s ambition is less about artistic integrity than about validation—about being seen, recognised, and affirmed. His willingness to deceive Sheldrake by falsely claiming that “twentieth” is “hot” about his script exemplifies how the pursuit of fame normalises mendacity. Pride and opportunism become survival mechanisms in an industry that prizes image over substance.
VCE · Text Response
Text Response: Sunset Boulevard both challenges and…
VCE Text Response essay scoring 62.5%: Billy Wilder's 'Sunset Boulevard' (1950) is a noir melodrama that explores the intricacies of 1940s Hollywood.…
Billy Wilder's 'Sunset Boulevard' (1950) is a noir melodrama that explores the intricacies of 1940s Hollywood. Set in the famous 'Sunset Boulevard' neighbourhood of Los Angeles, the film follows struggling screenwriter 'Joe Gillis' as he meets former silent film star 'Norma Desmond'. Quickly becoming ensconced in a world of fame, power and wealth, Joe loses his autonomy to the manipulative and controlling Norma, subsequently leading to his murder. This provides a stark contrast to the gender ideals of the 1940s and 50s, which expected women to be perfect homemakers who cared for their husbands and children without complaint. Wilder portrays the dynamic gender expectations for both men and women arising from a rapidly changing, post-war society. Although Wilder challenges the unrealistic expectations placed on the physical appearances of women, ultimately he reinforces traditional gender expectations in a subtle way that reflects long established cultural views of women.
Wilder subtly endorses traditional gender expectations of men being superior to women. Present throughout the film, Joe Gillis provides narration of the events of 'Sunset Boulevard' from his own perspective. Wilder characterises Joe as witty, intelligent and sarcastic, as reflected in dialogue where Joe describes menacing insurance collectors as saying 'the cutest things'. This positions the audience to perceive Joe as endearing, with his financial hardship and honesty making him a relatable character for both 1950s and contemporary audiences. Yet Joe's romantic relationship with Betty Schaefer is a clear example of his moral questionability. Joe describes Artie Green as a 'nicer guy' and thinks of him as a 'pal', but spends copious amounts of time with Artie's fiancee Betty, even kissing her with the knowledge that she and Artie are engaged. Wilder's swelling orchestral music, incandescant lighting and slow camera movements during romantic scenes between Joe and Betty present their relationship as intimate and positive, despite it being founded on disloyalty. Joe’s upright position in contrast to Betty’s seated stance symbolises Joe's masculinity and dominance over her. Additionally, Joe often gives Betty instructions on how to write their collaborative script, even telling her to walk a particular route to return to the office ‘via Washington Square'. This is evident of Joe's poor treatment of women, particularly younger women whom he may deem as less intelligent. Wilder's patriarchal storytelling via Joe prevents female characters (such as Norma Desmond) from being able to express their point of view of the events taking place during the film. Joe's lack of integrity is characteristic of noir films featuring morally ambiguous protagonists, which draws into question the reliability of Joe's negative portrayal of Norma Desmond. Ultimately, Wilder subtly creates a world where men hold dominion over women, leaving little room for female voices or empowerment, reflecting the gender expectations of 1940s America.
VCE · Text Response
Text Response: Sunset Boulevard both challenges and…
VCE Text Response essay scoring 62.5%: Billy Wilder's 'Sunset Boulevard' (1950) is a noir melodrama that explores the intricacies of 1940s Hollywood.…
Billy Wilder's 'Sunset Boulevard' (1950) is a noir melodrama that explores the intricacies of 1940s Hollywood. Set in the famous 'Sunset Boulevard' neighbourhood of Los Angeles, the film follows struggling screenwriter 'Joe Gillis' as he meets former silent film star 'Norma Desmond'. Quickly becoming ensconced in a world of fame, power and wealth, gender expectations are reversed as Joe loses his autonomy to Norma, subsequently leading to his murder. This provides a stark contrast to the gender ideals of the 1940s and 50s, which expected women to be perfect homemakers who cared for their husbands and children without complaint. Wilder portrays the dynamic gender expectations for both men and women arising from a rapidly changing, post-war society. Although Wilder challenges the unrealistic expectations placed on the physical appearances of women, ultimately he reinforces traditional gender expectations in a subtle way that reflects long established cultural views of women.
Wilder subtly endorses traditional gender expectations of men being superior to women. Present throughout the film, Joe Gillis provides narration of the events of 'Sunset Boulevard' from his own perspective. Wilder characterises Joe as witty, intelligent and sarcastic, as reflected in dialogue where Joe describes menacing insurance collectors as saying 'the cutest things'. This positions the audience to perceive Joe as endearing, with his financial hardship and honesty making him a relatable character for both 1950s and contemporary audiences. Yet Joe's romantic relationship with Betty Schaefer is a clear example of his moral questionability. Joe describes Artie Green as a 'nicer guy' and thinks of him as a 'pal', but spends copious amounts of time with Artie's fiancee Betty, even kissing her with the knowledge that she and Artie are engaged. Wilder's swelling orchestral music, incandescant lighting and slow camera movements during romantic scenes between Joe and Betty present their relationship as intimate and positive, despite it being founded on disloyalty. Joe’s upright position in contrast to Betty’s seated stance symbolises Joe's masculinity and dominance over her. Additionally, Joe often gives Betty instructions on how to write their collaborative script, even telling her to walk a particular route to return to the office ‘via Washington Square'. This is evident of Joe's poor treatment of women, particularly younger women whom he may deem as less intelligent. Wilder's patriarchal storytelling via Joe prevents female characters (such as Norma Desmond) from being able to express their point of view of the events taking place during the film. Joe's lack of integrity appears to be supported by Wilder, which draws into question the accuracy of Wilder's negative portrayal of Norma Desmond. Ultimately, Wilder subtly creates a world where men hold dominion over women, leaving little room for female voices or empowerment, reflecting the gender expectations of 1940s America.
VCE · Text Response
Text Response: Sunset Boulevard both challenges and…
VCE Text Response essay scoring 60%: Billy Wilder's 'Sunset Boulevard' (1950) is a noir melodrama that explores the intricacies of 1940s Hollywood. Set…
Billy Wilder's 'Sunset Boulevard' (1950) is a noir melodrama that explores the intricacies of 1940s Hollywood. Set in the famous 'Sunset Boulevard' locality of Los Angeles, the film follows struggling screenwriter 'Joe Gillis' as he meets former silent film star 'Norma Desmond'. Quickly becoming ensconced in a world of fame, power and wealth, gender expectations are reversed as Joe loses his autonomy to Norma, subsequently leading to his murder. This provides a stark contrast to the gender ideals of the 1940s and 50s, which expected women to be emotionless homemakers who cared for their husbands and children without complaint. Wilder portrays the dynamic gender expectations for both men and women arising from a rapidly changing, post-war society. Although Wilder challenges the unrealistic expectations placed on the physical appearances of women, ultimately he reinforces traditional gender expectations in a subtle way that reflects long established cultural views of women.
Wilder subtly endorses traditional gender expectations of men being superior to women. Present throughout the film, Joe Gillis provides narration of the events of 'Sunset Boulevard' from his own perspective. Wilder characterises Joe as witty, intelligent and sarcastic, as reflected in dialogue where Joe describes menacing insurance collectors as saying 'the cutest things'. This positions the audience to perceive Joe as endearing, his financial hardship and honesty make him a relatable character for both past 1950s and contemporary audiences. Yet Joe's Integrity is questioned multiple times. Joe's romantic relationship with Betty Schaefer is a clear example of his moral questionability. Joe describes Artie Green as a 'nicer guy' and thinks of him as a 'pal', but spends copious amounts of time with Artie's fiancee Betty, even kissing her with the knowledge that she and Artie are engaged. Wilder's swelling orchestral music, stark lighting and slow camera movements during romantic scenes between Joe and Betty present their relationship as intimate and positive, despite it being on disloyalty. Wilder's placement of Joe standing upright, whilst Betty is seated in her office symbolises Joe's masculinity and dominance over Betty. Additionally, Joe often gives Betty instructions on how to write their collaborative script, even telling her to walk a particular route 'from Washington Square?' This is evident of Joe's poor treatment of women, particularly younger women whom he may deem as less intelligent. Wilder's patriarchal storytelling via Joe prevents female characters (such as Norma Desmond) from being able to express their point of view of the events taking place during the film. Joe's lack of integrity appears to be supported by Wilder, which draws into question the accuracy of Wilder's negative portrayal of Norma Desmond. Ultimately, Wilder reminds viewers of the underlying purpose of men; held dominion over women, leaving little room for female voices or empowerment.
VCE · Text Response
Text Response: To what extent does sunset boulevard…
VCE Text Response essay scoring 67.5%: Wilder illustrates Hollywood as an industry that requires individuals relinquishing principles and using means of…
Wilder illustrates Hollywood as an industry that requires individuals relinquishing principles and using means of manipulation on each other for their personal greed and advancement. When Joe is dressing up in the “vicuna coat” he stares at himself in the mirror with a look of disgust, this facial expression signifies the moral sacrifice of Joe for materialistic gain as he treats himself as a product bought by Norma for personal financial gain hence exploiting Norma’s wealth. Although this leads to Norma gaining full control over Joe in turn as when Joe is leaving the New years party, a midshot displays his coat getting stuck in the handle which accentuates on the fact that even whenJoe is away from Norma she has full control over him due to her personal desires as she was “in love with him”. Norma herself is exploiting Joe's youth and presence for the craving of companionship. Wilder displays this manipulative relationship between the two characters as a great loss of individual morality, as it leads to individuals succumbing to the
VCE · Text Response
Text Response: How does The Memory Police present…
VCE Text Response essay scoring 67.5%: In Yoko Ogawa’s The Memory Police, storytelling is presented as a paradoxical force that embodies both resistance…
In Yoko Ogawa’s The Memory Police, storytelling is presented as a paradoxical force that embodies both resistance and submission within a dystopian society governed by enforced forgetting. As objects and their associated memories are erased, storytelling becomes a fragile method of preserving identity, history, and emotional truth. However, Ogawa simultaneously reveals the limitations of storytelling under authoritarian control, portraying it as powerless against systemic erasure. Through the protagonist’s act of writing, the diminishing meaning behind her stories, and the regime’s suppression of memory, Ogawa explores how storytelling resists erasure on a personal level while ultimately submitting to oppressive power.
Ogawa presents storytelling as a form of resistance by depicting writing as an instinctive attempt to preserve memory and identity in the face of disappearance.
The protagonist continues to write even as the world around her loses meaning, suggesting that storytelling is a deeply human impulse rather than a deliberate act of rebellion. Her writing allows her to preserve traces of erased objects, transforming loss into narrative. This is evident when she reflects that she “continued to write,” despite not fully understanding why, indicating that storytelling functions as an unconscious resistance to forgetting. By recording fragments of a disappearing world, the protagonist asserts her inner self against external control. Ogawa thus presents storytelling as a quiet yet meaningful form of resistance, one that preserves memory symbolically even when physical reality has been stripped away.
VCE · Text Response
Text Response: Through Maus, Spiegelman demonstrates that…
VCE Text Response essay scoring 65%: Introduction: Memory can be a source of one’s pain, yet it can also be vital to preserving one’s legacy. In Art…
Introduction:
Memory can be a source of one’s pain, yet it can also be vital to preserving one’s legacy. In Art Spiegelman’s graphic novel, memory is portrayed as fragile and fragmented, haunting both survivors and their descendents. However he suggests that through acceptance and story telling, individuals can reconcile with their past and preserve identity in the face of loss. Spiegelman reveals that trauma can torment Holocaust survivors long after the war, fragmenting their sense of self and their daily lives. His portrayal of Art’s emotional turmoil exposes how trauma can distort memory across generations, straining familial relationships and identity. Despite the pain of remembrance, Spiegelman affirms the necessities of storytelling as a means of preserving identity and recovering humanity. Ultimately, Maus confronts memories as a source of suffering, while also being a source of stories that is essential to record.
BP1:
Spiegelman reveals that the trauma of the Holocaust continues to torment survivors in the present, fragmenting their sense of self and distorting their daily interactions.
During Art’s interview, Vladek is depicted pedalling furiously on his stationary bike yet remaining motionless, a powerful visual metaphor for emotional paralysis.The relentless pedalling despite yielding no movement, symbolises the cyclical and inescapable nature, suggesting that survival does not equate to freedom from suffering. This sense of emotional stagnation encapsulates the futility of attempting to outrun memory as trauma becomes both an anchor and a prison.
Spiegelman, accentuated through the visual structure of the panel itself. A long horizontal frame occupying nearly a third of the page within it, Vladek’s hunched body and weary expression communicate profound psychological fatigue where he concedes, “enough for today”, his word signal not merely physical exhaustion but the unbearable weight of reliving the past, reinforcing that remembrance exacts a devastating emotional toll.
Vladek’s destruction of Anja’s diaries operates as both inheritance and burden. His admission, “these memories had too many, So i burned them” reveals the paradox of survival to preserve life he must erase the traces of it. This act of obliteration motivated by grief and guilt becomes an extension of trauma itself perpetuating loss rather than resolving it. Art’s furious response calling his father a “murderer”, reflects how trauma reverborates through generations fracturing bonds and transmitting guilt from parent to child.
Through Vladek’s dual narrative, his fragmented recollections of the past into woven with his fractured present, Spiegelman demonstrates that systemic persecution under the Nazi’s regime dehumanizes is victims yet through the very act of story telling, both Vladek and Art reclaim fragments of their lost humanity. Ultimately Spiegelman suggest that the cost of survival is the perpetual confrontation with memory, where the act of remembering itself becomes an open unhealing wound.
BP2:
Through the portrayal of Art’s guilt and detachment, Spiegelman exposes how the trauma of the Holocaust reverberates across generations, eroding familial relationships and self understanding.
VCE · Text Response
Text Response: Prompt 3: Explore the roles of fantasy and…
VCE Text Response essay scoring 70%: Prompt 3: Explore the roles of fantasy and magical beliefs in the text. Discuss. Fantasy and belief are deeply…
Prompt 3: Explore the roles of fantasy and magical beliefs in the text. Discuss.
Fantasy and belief are deeply personal constructs, shaped by everyone’s own rituals and imaginative habits. In her gothic novella, “We Have Always Lived in The Castle,” Shirley Jackson interrogates the function of fantasy and magical beliefs, revealing that for many, fantasies and delusion can become a source of internal power, allowing individuals to be psychologically soothed in times of distress. However, Jackson constructs love and power as binary forces, implying that the prioritization of fantasies may indirectly result in a lack of love. Through a feminine lens, Jackson positions the reader to perceive that fantasies symbolize feminine autonomy and serve as a form of resistance against patriarchal oppression.
Throughout the narrative, fantasies become a source of power for each individual as it functions as a means for self- soothing. Most prominently, the motif of the moon becomes a primary means for survival for Merricat. The significance of the moon is that it is a utopia in which Merricat can live in a world without judgement, control or societal expectations, acting as a safe alternate reality for Merricat. Her ritualistic superstitions such as burying objects and forming a, “powerful taut web” underground, acts as a “guard” for her and Constance. Through her depiction of a web, Jackson underscores that Merricat sense of safety is tense and fragile, and her constructed illusions are what gives her any agency. Her inherent desire to ensure a safety barrier around her and Constance, imply trauma indicating that protection was absent in her life.
VCE · Text Response
Text Response: Sunset boulevard reveals the destructive…
VCE Text Response essay scoring 70%: Billy Wilders film, Sunset Boulevard, explores the dark reality of fame, and how wealth enables individuals to…
Billy Wilders film, Sunset Boulevard, explores the dark reality of fame, and how wealth enables individuals to pursue destructive illusions of immortality and power. Set in 1950s Hollywood, America, Wilder conveys the film industry's flaws, revealing its inhumane behaviour and treatment towards its stars. Produced to uncover this unseen side of Hollywood, Wilder conveys that fame and glamour is a destructive force that can cause mental instability and desire for more success. This is seen through the isolation and lack of genuine connection causing decay, as well as the contrast in illusion and reality that can control rational thinking. Last this dangerous desire for glitz and popularity is depicted through the exploitation of power and corruption.
Wilder illustrates that loneliness is a product of not only selfish desires and personal gain to improve success, but also a fixation on remaining a star. As the film beings with a non-diegetic voice-over it frames isolation from the beginning. The cynical protagonist of Joe, whom narrates his own life, highlights ultimate isolation as he is already dead and stripped away from connection. Yet his ironic voiceover is due to him being infatuated with making it to Hollywood, which will allow him to become wealthy and successful. Although his naïve personality fundamentally destroys him and is the motive behind his inevitable abandonment. Additionally, as Joe is first introduced to Normas mansion, a low angle shot capture Norma peeking through her blinds. This shot illustrates the mansion as a prison for Norma, trapping her inside the decaying, rotting and dark house that she will remain occupied within. It is a symbol of Normas own isolation, and unkept connections she has been unable to maintain, which further solidify her insanity. Thus, when Joe first come into contact with Norma, the two are separated, illustrating not only physical distance but also foreshadows the mental distance that occurs further into the film. Wilders implementation of chiaroscuro lighting is able to contrast a naïve and happy Joe, to Norma who is stuck inside a dark and ominous mansion, with the shadows acting as a warning of what Joe is walking into. Furthermore, Joe prior to meeting Norma relates her to Miss Havisham. This literary parallel compares both ladies to oneanother, illistrating their traits they share in common. Miss Havisham was created by Dicken, and jilted by the altar by her fiancée. This is similar to Norma, who was left by Hollywood, forced to leave the industry as she was deemed not profitable. Both live as a recluse, far from people, and incapable of authentic connection. Overall, Wilder illiterates that an addiction to relevance and fame, build isolation and delusion, revealing how Hollywood's harsh behaviour impacts old stars.
VCE · Text Response
Text Response: In what ways does Churchill use dramatic…
VCE Text Response essay scoring 70%: In her play Top Girls, Caryl Churchill scrutinizes the ideological contradictions embedded in male-dominated…
In her play Top Girls, Caryl Churchill scrutinizes the ideological contradictions embedded in male-dominated systems by applying dramatic conventions to critique deep rooted notions of success and womanhood. Churchill conveys patriarchal definitions of success as structurally limiting, through Nell’s dialogue, “I don’t like coming second” (act 2 scene 1). Churchill characterises Nell as a tragic individual who has internalised masculine aggression yet has not accessed masculine privilege, which creates a dramatic irony and is a symbolic critique of Thatcherite mediocrity, her ambition promptly contrasted with her lack of authority within the corporate hierarchy. Thereby, Churchill confronts audience’s definitions of success under the patriarchy, forcing them to recognise that patriarchal definitions of achievement prioritise conformity over empowerment, revealing womanhood’s exclusionary standards. While Nell epitomizes women who are denied success despite assimilation, Marlene represents the depraved consequences
VCE · Text Response
Text Response: "Look at this street. All cardboard, all…
VCE Text Response essay scoring 60%: Journeying through the expansion of 1950s Hollywood, auteur Billy Wilder's film noir, "Sunset Boulevard", critiques…
Journeying through the expansion of 1950s Hollywood, auteur Billy Wilder's film noir, "Sunset Boulevard", critiques Hollywood's ability to purport image and conceal its lack of substance, revealing the innate instinct of a pedestalled society to chase a life on the pretense of allure. The melodramatic film noir stipulates the artificiality of Hollywood's grasp and the nature of individuals to overlook its delicate yet deceptive craft. Furthermore, Wilder accentuates the fatality associated with Hollywood's consumption, underscoring its ability to strip substance. Ultimately, Wilder examines Hollywood's capabilities in enticing individuals, even when they are aware of its machinations.
VCE · Text Response
Text Response: "What cowards you are…" 'The Women of…
VCE Text Response essay scoring 85%: The surprising image of frail Hecuba condemning the victorious Greeks as ‘cowards,’ is representative of…
The surprising image of frail Hecuba condemning the victorious Greeks as ‘cowards,’ is representative of Euripides’attempt to challenge the traditional understanding of cowardice and bravery in The Women of Troy. Indeed, from the first episode, Euripides presents alternative, and just as admirable forms of bravery, to military kleos. Even further, he demonstrates the flaws among the Greek victors - thus suggesting the fallacy in reflexively equating military conquest with bravery. However, while Euripides subverts commonly-held perceptions of bravery and cowardice, he doesn’t attempt to redefine them himself. Thus, in line with his realist nature, Euripides purports the pointlessness of constraining such ambiguous, human concepts to narrow, mechanical definitions.
From the first episode, Euripides calls into question the traditional perception of bravery – admirable kleos – through an inspiring depiction of the Trojan spirit. Hecuba’s bravery is revealed through her unbreakable resilience in the face of despair. A heavy sense of despondency pervades the opening scenes of the play, as an image of enfeebled Hecuba lying ‘quite still’ on the ground greets the audience. Her city is poignantly described as a ‘smoking ruin,’ and the sacred temples, once ‘raised’ to the gods, are now duplicitously raized. Yet Hecuba - the queen of this ‘destroyed’ city - opens her monody with verbs of strength: ‘lift,’ ‘heave’; as her frail body physically grapples with the effort of standing, so too is this action reflective of her battered spirit courageously resisting the psychological ‘weight’ of seemingly irrevocable losses – the death of her husband, the mutilation of her son, the annihilation of her city. Even as the woeful tunes of a ‘bleak song’ permeate the enervating atmosphere, Hecuba’s possessive callings of ‘my women, my girls’ evince her continual sense of responsibility for the Trojan remnants. Even as Talthybius arrives to report the ‘allocations’ – a cold, mechanical verb which reflects the Trojan loss of free will and self-determination – Hecuba’s first consideration is that of her ‘god-crazed daughter.’ The notion that this pitiful old woman - who is incessantly battered by unspeakable ‘agonies’ - can still exhibit a continual awareness of duty, presents a portrayal of bravery which is far from conventional. An additional moment where Euripides presents an atypical character of courage is in Cassandra, a ‘poor mad girl.’ In her resides an echo of Hecuba’s bravery, and yet the reverberations ring with greater defiance. Cassandra is arguably the greatest victim in the entire play – cursed by a god and regarded as ‘possessed’ by her fellow Phrygians, she is now to be desecrated by Agamemnon in an act of carnal lust. Yet Cassandra seeks to actively avenge her ‘murdered’ father and ‘dead’ brother – an act of familial honour which jars against her image as a ‘half-crazed’ prophet. Cassandra’s victory is a pyrrhic one – the ‘axe’ that will destroy the House of Atreus is also the one that will ‘sever’ her own neck. Indeed it is not Cassandra who will actually ‘kill’ Agamemnon, yet this physical description ofan axe invites comparisons to traditional views of bravery – the soldier is Cassandra, the weapon is her ‘marriage, ’ and achieving her goal will come at the cost of her life. This parallelism between madwoman and warrior shakes the very core of both Hellenic and modern understanding of heroism. Thus Euripides provides an iconoclastic depiction of courage, suggesting that the fundamental values of bravery can exist in completely unconventional forms - be it a reclining, depraved hag, or a crazed, soon-to-be deflowered virgin.
VCE · Text Response
Text Response: “She didn’t have food or shoes or even a…
VCE Text Response essay scoring 60%: Trevor Noah’s memoir Born a Crime encapsulates his difficult experience of navigating a discriminatory and an…
Trevor Noah’s memoir Born a Crime encapsulates his difficult experience of navigating a discriminatory and an impoverished society as a mixed South African. As Noah depicts the uplifting power of education, he also suggests that in the wake of oppression familial knowledge can be more reliable in providing an authentic outlook on the world. Noah communicates this through an idea that education is highly multifaceted, as it can provide both raw skills which can be useful, and philosophical insight which is vulnerable to the system of education.
Noah praises education given by one’s family for it being different from formal institutions, as it often provides individuals with skills that aren’t taught by authority. Noah’s “school didn’t” teach him “how to think”, but his mother did. As Noah recalls his reading of the Psalms in his childhood, he remarks that his mother concerned herself with asking him analytical questions about the passages. Noah criticizes South African education for not engaging with ideas deeply, as he implies that critical thinking is learned better within one’s family due to the freedom of expanding on subjects. Furthermore, Noah outlines that despite being a child, his mother “spoke to [him] like an adult,” while other children did not receive that treatment. Though, Noah aknowledges through his retrospective narration that his mother subverted the norms of traditional parenting, he learns that his education at home was more effective due to her efforts to connect with him. Here, (in contrast to public institutions) Noah embraces familial education for it’s devotion to be more personal, as he suggests that public schools lack a level of connection with students.
VCE · Text Response
Text Response: Change is unwelcome in we have always…
VCE Text Response essay scoring 77.5%: Jackson positions unpredictable change as a force that threatens an individual's ability to maintain stability…
Jackson positions unpredictable change as a force that threatens an individual's ability to maintain stability over their lives, by emphasising characters’ efforts to repel these intrusions. The structure of the Blackwood house serves as a symbol of the sisters' resistance to change. By ensuring that she ‘locked the gate’ and that the path to the Blackwood house was closed forever,’ Merricat perpetually prevents the unpredictable outside from intruding into the property. Through this, Jackson emphasises the reality that change as a force is never welcome into the lives of the Blackwood sisters. Additionally, the word ‘always’ in the title implies that life within the ‘Castle’ is lived through permanent structures which dictate the outcome of the sisters’ lives, ensuring that they have full control over minimising the change that threatens these stagnant routines. In doing so, Jackson emphasises Merricat’s perception that life within the Blackwood house has never changed, and will never change; that their existence before the introduction of the ‘monster’ Charles in the first third of the gothic tripartite
VCE · Text Response
Text Response: Change is unwelcome in we have always…
VCE Text Response essay scoring 70%: Jackson positions unpredictable change as a force that threatens an individual's ability to maintain stability over…
Jackson positions unpredictable change as a force that threatens an individual's ability to maintain stability over their lives, by emphasising characters’ efforts to maintain these intrusions. The structure of the Blackwood house serves as a symbol of the sisters' resistance to change. By ensuring that she ‘locked the gate’ and that the path to the Blackwood house was closed forever,’ Merricat perpetually prevents the unpredictable outside from intruding into the property. Through this, Jackson emphasises the reality that change as a force is never welcome into the lives of the Blackwood sisters. Additionally, the word ‘always’ in the title implies that life within the ‘Castle’ is lived through permanent structures which dictate the outcome of the sisters’ lives, ensuring that they have full control over minimising the change that threatens these stagnant routines. In doing so, Jackson emphasises Merricat’s perception that life within the Blackwood house has never changed, and will never change; that their existence before the introduction of the ‘monster’ Charles in the first third of the gothic
VCE · Text Response
Text Response: Change is unwelcome in we have always…
VCE Text Response essay scoring 70%: Jackson positions unpredictable change as a force that threatens an individual's ability to maintain stability over…
Jackson positions unpredictable change as a force that threatens an individual's ability to maintain stability over their lives, by emphasising characters’ efforts to maintain control over change. The structure of the Blackwood house serves as a symbol of the sisters' resistance to change. By ensuring that she ‘locked the gate’ and that the path to the Blackwood house was closed forever,’ Merricat perpetually prevents the unpredictable outside from intruding into the property. Through this, Jackson emphasises the reality that change as a force is never welcome into the lives of the Blackwood sisters. Additionally, the word ‘always’ in the title implies that life within the ‘Castle’ is lived through permanent structures which dictate the outcome of the sisters’ lives, ensuring that they have full control over minimising the change that threatens these stagnant routines. In doing so, Jackson emphasises Merricat’s perception that life within the Blackwood house has never changed, and will never change; that their existence before the introduction of the ‘monster’ Charles in the first third of the gothic
VCE · Text Response
Text Response: “There’s nothing tragic about being 50,…
VCE Text Response essay scoring 60%: Wilder exposes the cruel nature of the Hollywood machine, illustrating how in an inherently patriarchal industry,…
Wilder exposes the cruel nature of the Hollywood machine, illustrating how in an inherently patriarchal industry, profit and youth are valued over talent and skill, utilising the characterisation of Sheldrake. Sheldrake suggested that “If we make it a girls baseball team” instead of a boys baseball team the script would be better and would sell, emphasising that women are used as mere images, commodifying them in a way to be able to sell their films. Sheldrake also calls Betty “Ms. Kramer” in a casual, dismissive tone and doesn’t even look up at her. Wilder utilises this acting choice to illustrate the patriarchal power dynamic as Sheldrake does not feel the need to acknowledge Betty in the slightest or show her basic respect, viewing Betty as an individual who’s beauty is required or talent is not valued. Wilder further scutinises this fact by bringing into play Betty’s story of how she decided to become a reader. She came “from a picture family” and “naturally they expected me to become a great star” so she had “10 years” of lessons to be a good actor, “Then the studio made a test. Well they didn’t like my nose… So I went to a doctor and had it fixed, they made more tests and they were crazy about my nose, only they didn’t like my acting.” This dissects the priorities of the Hollywood’s factory of forgotten dreams as they are first criticising
VCE · Text Response
Text Response: What does Nora’s journey suggest about…
VCE Text Response essay scoring 75%: Through Nora’s journey towards self identity, Ibsen critiques the gender roles and patriarchal values of society.…
Through Nora’s journey towards self identity, Ibsen critiques the gender roles and patriarchal values of society. Initially, Nora conforms to her role as a wife, and does not mind her ‘doll-like’ existence. However, as the play progresses, Nora gains awareness about how Torvald and the rest of society treats her due to her status as a woman and mother. This condescending view is clear when Torvald dismisses Nora’s concerns as being “just like a woman” (pg 149), a phrase that immediately positions female behaviour as inferior. In reinforcing the stereotype that women are less logical or capable than men, Ibsen reveals Torvald’s controlling personality and how the patriarchal society of 19th century Norway normalised belittling women. By exposing this normalisation, Ibsen forces the audience to recognise the great extent to which societal gender roles are integrated and how they dictate the actions of characters in the play.
VCE · Text Response
Text Response: Hadley explores the power of…
VCE Text Response essay scoring 77.5%: Hadley explores the power of relationships. Discuss. Relationships form the basis of one’s life, shaping…
Hadley explores the power of relationships. Discuss.
Relationships form the basis of one’s life, shaping personalities and motivations. Tessa Hadley’s ‘Bad Dreams and Other Stories’ explores the lives of ten female protagonists sprawled across twentieth and twenty-first century Britian. In the anthology, Hadley follows her female subjects through the mundane everyday life of Britain, detailing the trials and tribulations they face. Throughout these interactions, the author postulates that relationships are powerful forces, shaping both positive and negative experiences. She postulates that relationships are disempowering for many women, reducing self-esteem and catalysing change. Moreover, Hadley suggests power imbalances within relationships create tension. Fundamentally, ‘Bad Dreams and Other Stories’ implies that relationships cement gender roles, perpetuating archaic societal structures. Ultimately, relationships are complex and multi-faceted forces, sculpting every aspect of characters’ lives.
Hadley suggests relationships can be disempowering, as she explores the complexity of interactions. This is prevalent in ‘Deeds Not Words’, an echo of the suffragette motto, initially through the ‘intimate relationship’ between Edith and Fitz. Hadley proposes that Edith bears the burden of the illegitimacy of this relationship, thus exploring its disempowerment. Edith’s fear that ‘they would be found out, and she would be disgraced’ illuminates this. Hadley’s stark pronoun swap, from ‘they’ to ‘she’, implies only Edith should be outcast in the wake of this sexual activity, whilst Fitz would be unscathed. Thus, she denounces society’s tendency to allow men to escape the repercussions of their illegitimacy, whilst women are chastised for their promiscuity. Simultaneously, the parallels drawn between Laura and Edith illuminate this disempowerment as a ubiquitous female experience. By suggesting that ‘in their shame they could hardly bear to look at each other’, Hadley postulates that both women have suffered the same disgrace, one from their ‘first experience of love’ and one from the desertion by the WSPU party. Thus, Hadley depicts torn relationships as a disempowering force, whereby women are exposed to the shame before men. In a similar manner, Ruby of ‘Her Share of Sorrow’, experiences mass disappointment within her familial relationships. As her family ‘cruel[ly]’ ‘hollows out the best thing that she’d ever done’, Ruby is further juxtaposed from her ‘high-flying’ family. The notion that her family ‘hollowed’ Ruby, connotes a sense of entire disembodiment and removal of internal elements from her body. This metaphorical language conveys the extent to which their ‘laughing’ at Ruby’s story disempowered her newfound ‘writerly love’. Through this, Hadley illuminates the way social outcasts are disempowered by their interactions with surroundings. Ultimately, relationships have a marginalizing impact, removing characters self-esteem.
VCE · Text Response
Text Response: Change is unwelcome in We Have Always…
VCE Text Response essay scoring 65%: Written in 1962, Shirley Jackson’s We Have Always Lived in the Castle explores the limitations placed upon the…
Written in 1962, Shirley Jackson’s We Have Always Lived in the Castle explores the limitations placed upon the aristocratic Blackwoods as a result of the patriarchal and formal society in which they live. Depicted through the psychologically damaged narration of Merricat, Jackson explores the notion of rigid societal norms through the restriction of change, which leads to a bleak society in which individuals are forced to conform. Ultimately, Jackson works to not only condemn the harsh patriarchal norms that societies are based upon, but also demonstrate the effort required to reject these conventional societal values by unwelcoming change.
Jackson depicts Cousin Charles' arrival as a resurgence of patriarchal authority, symbolising the endurance of the rigid social and gender structures that threaten the fragile independence the sisters have cultivated. Amidst Charles's arrival, Merricat, who is portrayed as a figure of resistance to patriarchal norms, feels threatened by the change, which is portrayed through the masculine symbols such as Charles's smoking pipe and his newspapers, which were left “lying anywhere,” infecting the house, symbolising the change in dominance Charles asserted towards the Blackwood sisters. This illustrates the covert nature of Charles to gain control and power over his brother's family, which is opposed by Merricat's past trauma of John Blackwood “punishing her,” inciting her fear of the patriarchal household. Jackson underscores the recurring notions of constant pressures of conformity by highlighting the absurd prevalence of male dominance and societal expectations, even with Merricat's consistent rejection. Conversely, this further depicts the rigidity of overcoming societal pressures, demonstrating how change is ultimately unwelcome within societal expectations and also recognising the power Merricat exerts through this constant rejection of change. Moreover, Charles motives of materialism lead to avarice, which represents his obsession with “money” as a medium by which the outsiders conform, juxtaposing the sisters rejection of materialism despite their aristocratic status. Charles's materialism is exposed when he fixates on the buried gold watch chain as he refers to it as a “valuable thing” that's “worth money”. Jackson suggests the family's obsession with wealth epitomises their reluctance to change, illuminated in Mericat's defence of her father as he was “never a man to give things away easily”, reinforcing the generational entrenchment of the Blackwoods rigid values. Therefore, Jackson illustrates how patriarchal intrusion within the household threatens the fragile matriarchal dominance that the sisters hold.
VCE · Text Response
Text Response: In we have always lived in the castle,…
VCE Text Response essay scoring 60%: Jackson denotes how the Blackwood sisters respond to the intrusion of a patriarchal figure in matriarchal…
Jackson denotes how the Blackwood sisters respond to the intrusion of a patriarchal figure in matriarchal hierarchy, juxtaposing how women rebel against it while others succumb to it. Characterizing Merricat as a solipsistic and autocratic woman, Jackson illustrates that the arrival of Uncle Charles provoked her fear of losing control as he attempted to position himself as the authority figure in the family however she rebelled against this, describing Charles as a "ghost" that "could be driven away". As Charles transformed to "[look more] like father", Merricat grew more envious causing her to develop and act on malicious desires in an attempt to get rid of Charles. This in turn resulted in her igniting a fire, causing Charles to escape from the fire and disappear from the family. Reinforcing this notion, Jackson indicates how the fear of losing control incites an individual to act on irrational decisions, warning that the cost of power
VCE · Text Response
Text Response: Hadley depicts the oppression of women.…
VCE Text Response essay scoring 77.5%: Hadley depicts the oppression of women. Discuss. Gender, a societal construct, has influenced the actions and…
Hadley depicts the oppression of women. Discuss.
Gender, a societal construct, has influenced the actions and guided the lives of everyone, shaping the world since the beginning of time. Tessa Hadley’s ‘Bad Dreams and Other Stories’ (2017) depict ten female protagonists in twentieth and twenty-first century Britain, demonstrating the hardship of female life. Throughout her anthology, Hadley underscores the oppression of women, condemning society’s placement and objectification of this demographic as inferior. ‘Bad Dreams and Other Stories’ accentuates power imbalances within relationships, suggesting men’s power is destined. Moreover, Hadley highlights the condemning of women to carrying burden. Ultimately, Hadley portrays the ubiquity of female oppression, projecting that this injustice is engrained in British society constantly. The collection fundamentally denounces the domestication of women through its multi-perspective narration.
Hadley postulates that imbalance of power is embedded in relationships, criticizing the favouring of men. Archaic androcentric structures persisting into the modern-day result in men remaining dominant in sexual relations. This is particularly apparent in ‘Under the Sign of the Moon’, a story exploring the layers of Greta’s life in Liverpool, using a non-linear chronology. During the flashback, Ian claims he is able to ‘see the atomic structure of the pavement’ and ‘consents to the laws of physics’ detailing to a sense of power. Through this characterisation, Hadley suggests Ian perceives his place in the relationship as almost God-like, believing he controls not only Greta but the fundamentals of science. Thus, the notion that he requests Greta to ‘consummate their marriage’ ‘under the sign of the moon’ connotes a sense of expectation for her to conform to his expectations, just like the laws of physics do. Here, Hadley exemplifies the power imbalance within this relationship. However, this superiority complex contrasts his fatal ending, ‘dying in a car crash’, alluding that he is neither immortal nor better than Greta. Thus, Hadley criticizes the patriarchal societal mechanisms that delegate power in a masculine favouring way. This is also present in ‘Bad Dreams’, the titular piece exploring the tensions within domestic environments during the mid-1900s. Hadley’s imagery of the father’s opulence ‘shiny trumpet, case open’, ‘silver-framed wedding photo’, contrasts the mundane everyday depicted in the mothers’ possessions. The notion that the ‘sewing machine was an engine that drove their day’ connotes the feminine position as retaining balance in the household, whilst the riches of male life remain unavailable. Thus, Hadley suggests the mother in ‘Bad Dreams’, who’s outward appearance mirrors the typicality of femininity in the nuclear family, is unfamiliar to and not worthy of opulence, in the way that the father is. Here, Hadley condemns the contrast between female and male entitlements as highlighted in her anthology.
VCE · Text Response
Text Response: ‘Sunset Boulevard’ is ultimately a…
VCE Text Response essay scoring 60%: Silhouetted against the milieu of 1950 America, director Billy wilder's film noir 'Sunset Boulevard' critiques the…
Silhouetted against the milieu of 1950 America, director Billy wilder's film noir 'Sunset Boulevard' critiques the complex nature of the 'dark side' of the Hollywood film industry, yet simultaneously unveils participants own roles in manifesting its ramifications. By establishing the androcentric nature of Hollywood wilder exposes the power disparity between genders subsequently enabling objectification to dictate female relevancy to the industry. Extending upon its manipulation and exploitation of women, wilder discloses the industries allure of immortal fame to be a masquerade for futile and transient stardom that is isolating and psychologically deleterious. However, in the pursuit of success, wilder accentuates that refusing to sacrifice integrity with obsession, promotes the positive navigation of Hollywood's film industry, proffering a hopeful future imbued with self - righteousness.
Archaic gender roles can impose severe inequity in a society. By accentuating Hollywood's androcentric nature, wilder unveils the systemic power disparity between genders in the film industry. Once a "star" but now "Yesterday's Glamour Queen", Norma Desmond epitomises Hollywood's belittlement of women as her objective "Glamour" defines her career's value. Through a wide shot depicting Norma's old, decaying, "abandoned" mansion which mirrors Norma's phycological deterioration, wilder draws a parallel between its state of disregard and Hollywood's treatment of aging female actresses. In extension to this comparison wilder harnesses Joes description of the mansion being a "big white elephant of a place" - implying its arduous maintenance and lack of value - in order to expose Hollywood's tendency to itemize women rather than humanize them, as being able to modernize the industry with new trends and beauty standards by simply replacing items is less troublesome than feeling obligated to respect and maintain the metaphorical "white elephant" of aging actresses careers. In contrast to women's short lasting careers in Hollywood, wilder accentuates, men's industry longevity through coupling a close up shot of DeMille's, wrinkled facial features with the power he exerts directing at "Paramount studio's" despite his old age. This description of DeMille compounds upon the audiences growing awareness of powerful positions being occupied by older men in Hollywood following wilders portrayal of Joes meeting with Sheldrake an older Hollywood executive whose expresses relaxed body language In juxtaposition to Joes uptight forward leaning positioning. This scene further accentuates the relentlessly decisive power of men in the industry as joes financial stability is dependent on Sheldrake liking his film pitch, enabling wilder to foreshadow the psychological and emotional detriment women faced as victims of distorted yet enforced masculine ideologies. As a result of DeMille's noticeable power and relevancy in the industry at an old age, wilder stipulates the intense marginalization of older actresses, as well as reveals the systemic sexism in Hollywood manifesting in harsh double standards.
VCE · Text Response
Text Response: While the Blackwood sisters have seemingly…
VCE Text Response essay scoring 85%: Shirley Jackson’s 1962 gothic novella, We Have Always Lived in the Castle, is a scathing critique of the rigid…
Shirley Jackson’s 1962 gothic novella, We Have Always Lived in the Castle, is a scathing critique of the rigid patriarchal structures that governed mid-century American life. While the death of John Blackwood—the family patriarch—initially suggests a liberation for his daughters, Constance and Merricat, Jackson posits that the domestic sphere remains fundamentally haunted by male authority. Through the psychological residue left by their father and the subsequent physical intrusion of their cousin Charles, Jackson illustrates that patriarchal control is not merely a person, but a pervasive systemic force. Ultimately, the sisters' retreat into a domestic ruin highlights the impossibility of true female autonomy within a society that demands patriarchal oversight.
Even after his death, the presence of John Blackwood remains the dominant architectural and psychological force within the household. The sisters live in a "museum" of their father’s making, adhering to a "schedule" and "rules" that were established to maintain his order. Merricat’s obsession with "safeguards" and "magic" is, in many ways, a defensive reaction to the strict, punitive environment her father created. The fact that the sisters preserve his study and keep his "possessions" untouched suggests that they have internalized his authority; they do not live as free agents, but as curators of a dead man's legacy. Jackson uses this atmospheric tension to show that the patriarchy does not need to be alive to exert control; its "shadow" is cast through the very traditions and structures it leaves behind.