VCE · Text Response
Text Response: Sunset Boulevard suggests that Hollywood…
VCE Text Response essay scoring 65%: Criticising the increasingly superficial world of Hollywood, Billy Wilder’s film noir Sunset Boulevard exposes the…
Criticising the increasingly superficial world of Hollywood, Billy Wilder’s film noir Sunset Boulevard exposes the absence of sympathy and connections. To achieve this, Wilder displays the industry and characters’ lack of empathy, prioritising wealth, emphasises an underlying superficiality and encapsulates the cruel reality. Furthermore, Sunset Boulevard highlights Hollywood’s toxic relationships, descending to destruction and inducing detachment from reality. Nevertheless, Wilder explores genuine relationships, attesting to Hollywood’s glamour. Thus, Wilder depicts Hollywood as cynical, yet compassionate.
Wilder depicts Hollywood as brutal, especially towards individuals insignificant to the industry’s growth through their characters’ adversities and desperation. The camera slowly pans across the bright, dazzling street of Hollywood, exemplifying glamour, to an open window on the third floor, delving into the apartment of a struggling screenwriter, Joe Gillis. Joe questions his talent; oblivious to whether or not he was “too original” or not “original enough,” considering his work “didn’t sell,” insinuating his helplessness against Hollywood’s impossible expectations and unreasonable demands for medium originality. Joe’s uncertain prospect despite hard work highlights Hollywood’s ruthless nature in downplaying efforts, concerned with only concrete accomplishments. Hollywood’s allure is juxtaposed with Joe’s one room affair, furnished with an unmade bed, full ashtray, makeshift desk and almost empty kitchenette, a microcosm to the unorganised lives of most writers, as the industry remorselessly suffocates them in an endless amount of strenuous tasks. In pursuit of revitalizing his collapsing career by obtaining a job, Joe walks towards the towering main gate of Paramount studio, a symbol that reiterates Hollywood’s grandiose expectations which unforgivingly disregards insignificant work. Joe arrives at Sheldrake’s executive office consisting of luxurious, mahogany style furniture, contrasting against Joe’s cheerless, dingy apartment and highlights the unjust disparity between lifestyles of executives and employees. Here, in a desperate act of persuading Sheldrake to provide him with a living, Joe resorts to the immoral means of deceivingly aggrandizing himself, lying about the Twentieth being “pretty hot” over his story. Joe’s body language of turning away in the midst of his lies allows viewers to assume this contradicts his moral compass and accordingly blame Hollywood for leading individuals astray. Joe embodies the film noir trope of a cynical male lead, a fallen idealist and victim of Hollywood’s ruthless demands, rendering him disillusioned and morally compromised. Wilder’s hardened characterisation of Joe underscores his struggles as a product of Hollywood’s exploitative system, ultimately condemning the industry for fostering ambition, only to discard those who then fail to meet its ruthless expectations. Therefore, Sunset Boulevard portrays Hollywood as uncaring, especially to individuals deemed worthless, through its tendency to neglect, driven by materialistic desires.
VCE · Text Response
Text Response: Does Capote suggest that the American…
VCE Text Response essay scoring 67.5%: Truman Capote’s 1966 non-fiction novel, In Cold Blood, explores not only the brutality of the Clutter murders but…
Truman Capote’s 1966 non-fiction novel, In Cold Blood, explores not only the brutality of the Clutter murders but also the profound psychological and moral damage inflicted on the small community of Holcomb, Kansas. Through his non-fiction novel, Capote explores how the American Dream exerts a powerful influence over society, fostering a desire for prosperity that can be realised through endeavour, however it remains “an illusion’ for those who do not possess the discipline and decency to realise success. Capote postulates that the dream is present in some form for most individuals but is hard to achieve without moral guidance and education, he further elaborates on the dream intoxicating those who fantasise about a life that gives them wealth and the power they desire, and conversely alludes to how it is not an illusion for those with self- discipline, however it does not protect them against harm or tragedy.
Capote conveys that while the American Dream exists as an attainable goal for some individuals, it remains distant from those who do lack moral guidance and education. Capote pictures Mr Clutter as the pure embodiment of the American Dream, however individuals like Perry and Dick “envied Mr Clutter’s life, the clean shirts, the respect … the money.” They admired what they themselves could not achieve. Capote uses their envy to expose that the dream depends on privilege, education and guidance. Capote endorses that Perry’s early childhood has left him no time to work towards the dream but to survive on his own terms as the “black widows were always at me. Hitting me.” The imagery portrays the nuns, who should care and nurture, as harmful and predatory. Capote combines this imagery and their dark clothing to dehumanise the nuns who are a part of institutions of care. Capote articulates that due to the abuse inflicted onto him, he could never recover from his psychological trauma and ultimately led himself on a path far away from achieving the American Dream. Moreover, Capote advances to Dick’s attitude and perception of success as Dick believed that he was “destined for something bigger but never took the steps to make it happen.” Capote deploys juxtaposition between lack of effort and the discipline to achieve success. In Dick’s case, Capote cements that his idea of the American dream is flawed. He is not willing to take action and expects success without the work that it requires. Capote portrays individuals like Dick and Perry as men, crippled by social neglect and psychological instability, whose pursuit of the American Dream shifts their behaviour. Lacking education, discipline and moral support, Capote grounds how they channel their ambition into delusion and people who are disciplined and hard working in nature will ultimately obtain success.
VCE · Text Response
Text Response: ‘Nature does not explain, it simply exists…
VCE Text Response essay scoring 60%: In a time of vast technological development and materialistic ‘yuppie’ culture taking over the norm of society.…
In a time of vast technological development and materialistic ‘yuppie’ culture taking over the norm of society. Mary Olivers poetry in New and Selected Poems emphasis the importance of a classical appreciation of nature and acts as a guide to creating a spiritual connection with the natural world. Oliver posits that nature has the ability to simply exists no matter what occurs in the human world but can also be a site for explanation. Oliver emphasises that embracing the simplicity of nature can allow one to simply live without pressure of societal norms. Furthermore Oliver showcases the power the natural cycles of the world hold as they can continue to exist despite what’s ongoing in the human world. Finally, nature can also be a place of explanation if observed mindfully.
Oliver highlights how abundance with the natural world can help one exist without constant pressures of society. In the poem ‘Wild Geese’ Oliver celebrates the vast beauty of nature by watching the cycle of geese migrating and returning home. Oliver directly addresses the reader and states “you do not have to be good” and “you do not have to walk on your knees … repenting” the use of the personal pronoun ‘you’ begans an intimate conversation with the reader and alludes to the religious expectations of the time as Jesus walked through the dessert, in doing so Oliver is emphasising nature does not hold religious expectations, accepting everyone. Instead the readers are encouraged to “let the soft animal of {their] body love what it loves”, Oliver is highlighting that embracing ones primal place in the natural world can help them live how they want to live without worrying about religious or societal expectations allowing them to exist without explaining. Furthermore towards the end of the poem when the geese are returning home together the Poet personifies the world as “offer[ing] itself to [their] imagination” and calls to the readers like wild geese. The personification potrays the world as actively seeking to the readers to join the vast beauty it has to offer and as wild geese travel in groups this symbolises the connectiveness in being part of the natural world. Here Oliver emphasises how the natural world is available to everyone and anyone can be apart of something beyond the materialistic norms of society. Similarly in the poem ‘August’ Oliver explores through blackberry field that engagement in nature is independent from the societal values of her time. Oliver uses dynamic verbs such as, “reaching”, and, “cramming”, to highlight the raw engagement in the “woods… nobody owns” portraying that nature is free from capitalistic control and is avaible for anyone to enjoy further showing how the simple act of picking blackberries can help one become more connected to the simplicity of nature and live a more fulfilled life away from the traffic of the human world. Through celebrating nature’s constancy, Oliver suggests that belonging and acceptance lie not in just existing in the human world but engaging with the primal world.
VCE · Text Response
Text Response: To what extent does "We Have Always Lived…
VCE Text Response essay scoring 70%: English. -> Section A practice We Have Always lived in the Castle. To what extent does 'We Have Always lived in the…
English. -> Section A practice
We Have Always lived in the Castle.
To what extent does 'We Have Always lived in the castle' suggest that some may not be able to deal with the evils of society?
In 'We Have Always lived in the Castle' a neogothic novella written by Shirley Jackson it is explored how characters are not able to condemn to the evils of the outside world. This novella was written in 1962 which was known for its parthriarchal values and stereotypes of nuclear families. Merricat and Constance's withdrawal from the outside world reflects their inability to cope with the 'evils'. Merricats child like behaviour and personality may be a safeguard to block out societal corruption. The arrival of Charles signifies how the two worlds corrupt when brought together.
Moreover 'In We Have Always lived in the Castle' Jackson highlights how the sisters withdrawal from society reflects their inability to cope with the 'evils'. The Blackwoods have The 'evils' in society from the Blackwood's perspective being the villagers as Merricat describes them as 'rotting hearts' and wishes 'they were all dead'. This feeling of dislike is mutual as the villagers have 'always hated' the Blackwoods. Merricat and Constance live in a Us vs Them reality where they try to avoid at the best of times. This seperation showcases their unwillingness to engage with the villagers, hence always staying within their 'wall of safety'. Jackson demonstrates how the sisters lack of engagement with the villagers displays their avoidance to deal with the judgem-ent and hatred that stems from the villagers.
VCE · Text Response
Text Response: Sunset Boulevard criticizes the act of…
VCE Text Response essay scoring 82.5%: Silhouetted against the backdrop of the post silent film era, Billy Wilder's film noir, "Sunset Boulevard" is a…
Silhouetted against the backdrop of the post silent film era, Billy Wilder's film noir, "Sunset Boulevard" is a scathing critique of the flawed side of Hollywood where individuals with desires to succeed are exploited and then abandoned. Wilder criticizes the film industry due to their predatory and exploitative measures to generate financial gain but also the side effects that are present in pursuit of wealth. Such exploitation is illustrated through an individuals ambition for fame and wealth, the disillusionment from reality as a result of wealth and Hollywood's own manipulative and predatory standards to lure individuals and exploit them for revenue.
Wilder critiques the notion of ambition and how its utilization for wealth can propose unconventional circumstances that result in tragedy. Such unconventionality is portrayed through the aspiring screenwriter, Joe Gillis and his transactional relationship with Norma where even though he acknowledges that it's "not very admirable", he still pursued the relationship as "he's got a good deal". Joe's persistence with this relationship highlights his ever-growing ambition that stems from his concept of wealth and success despite the moral dilemmas that may arise from this one sided relationship. Wilder further explores the concept of abandoning morals for money through Joe's submission to Norma. When shopping at a lavish store with Norma, an employee walks up to Joe and whispers, "As long as the lady's paying for it". Joe's sudden turn and change in body language, accompanied by Waxman's deliberate use of screeching music to portray a sense of discomfort highlights Joe's acknowledgement of the unconventional and immoral nature of the relationship. During this era, a relationship where a woman held more leverage was seen as unorthodox as males were seen as more dominant, further illustrating Wilder's critique of ambition and how moral values must be sacrificed for any sort of success. Joe's decisions to sacrifice his moral compass to pursue wealth ultimately lead to the consequence of death where during his final moments, he is shot by Norma and lands in the "pool he always wanted". Using the pool as a symbol of wealth and success, Joe's falling into the pool solidifies Wilder's subversion of moral ambiguity and how it results in tragedy, further criticizing the allure of wealth in Sunset Boulevard.
VCE · Text Response
Text Response: Malouf highlights that it is more…
VCE Text Response essay scoring 75%: The natural fear of vulnerability is one that is frequently explored throughout ‘The complete stories. David Malouf…
The natural fear of vulnerability is one that is frequently explored throughout ‘The complete stories. David Malouf persistently dissects the state of existence depicting it as a necessity for growth and reflection. However, Malouf proposes the idea that vulnerability itself is ineffective, however when accompanied by strength can be a powerful tool for one’s mental health.
Malouf explored the benefits of vulnerability depicting it as a pathway to growth through reflection and exploration of spiritual entities specifically ghosts embodying our past. In ‘Mrs Porter and the rock’ Dulcie is frequently visited by other world spirits imposing her past on her. These spirits expose her vulnerabilities and traits which she wished to forget however she was unable to move on from them. However, through her increased susceptibility Dulcie ultimately finds a path to closure and hope through confrontation of these spirits, exposing herself to her past she was able to reflect ridding herself of the ghosts of her past. Through the use of ghosts as a motif Malouf comments on the persisting damage that can arise from ignorance to one’s past as a product of fear towards confrontation. Similarly, in ‘War baby’ “The ghosts [Charlie Dowd] carried” as a result of his experiences in the Vietnam war a global conflict plaguing thousands. Malouf represents a large population of young Australian males who suffered greatly from PTSD as result of the war, with their memories haunting their mind. Many of these men unable to grow and accept their past leaving them stuck in the place they hate most. Dowd is able to develop through his vulnerability and analysis of his experience, allowing him to understand himself whilst exposing his weakens to the world. Through Dowd, Malouf explores the outreaching effects of the war on those surrounding him throughout his upbringing, highlighting his belief that in order for one to grow they must expose themselves inducing a state of vulnerability. Through both characters Malouf highlights the journey one must take to grow, implying the significance of vulnerability in ridding oneself of their past ghosts.
VCE · Text Response
Text Response: i. How is the Blackwood estate both a…
VCE Text Response essay scoring 90%: Shirley Jackson’s 1962 gothic novella We Have Always Lived in the Castle uses the Blackwood estate as both…
Shirley Jackson’s 1962 gothic novella We Have Always Lived in the Castle uses the Blackwood estate as both sanctuary and snare — a domestic fortress protecting its inhabitants from a hostile world, yet simultaneously entombing them within the ruins of isolation and trauma. Written amid the cultural anxiety of postwar America, Jackson’s work interrogates the illusory safety of domestic space and the corrosive effects of societal exclusion on the female psyche. Through her exploration of the decaying Blackwood home as both a “castle” and a “tomb,” Jackson reveals how the desire for protection from a cruel society ultimately manifests as self-imprisonment. While the estate offers Merricat and Constance Blackwood refuge from social persecution, it also reinforces their alienation and stasis — a paradox Jackson uses to critique patriarchal confinement and the delusions of security that privilege can create.
Jackson constructs the Blackwood estate as a sanctuary against a world that is both socially and morally corrupted, particularly for women. The village, described as a place where “the men stayed young and did the gossiping and the women aged with grey evil weariness,” exposes the gendered toxicity of small-town conformity. In this context, the Blackwood home functions as a symbolic “castle,” elevated and gated, protecting Constance and Merricat from public vilification following the family’s infamous poisoning. Merricat’s narration reveals that “even now, Constance and I still saw some small society… they spoke politely and with little runs of laughter,” an image of superficial civility masking deep resentment. Jackson’s use of irony here underscores the hypocrisy of the townspeople’s politeness, implying that their “calls” are performative acts of surveillance rather than friendship. The sisters’ withdrawal, therefore, becomes an act of resistance: their self-imposed domestic exile is a rejection of patriarchal judgment.
Furthermore, the ritualistic domesticity within the estate provides psychological comfort. Merricat observes that “Constance worked in the kitchen, moving beautifully in the sunlight, touching foods so softly,” a scene that transforms the mundane act of cooking into a sacred ritual of female self-preservation. The sensory imagery and gentle rhythm of the prose idealise domestic labour as an act of reclamation — an assertion of control over the domestic sphere historically used to oppress women. Jackson’s authorial intent is clear: through the construction of this secluded home, she critiques a patriarchal society that leaves women no refuge except the spaces they construct for themselves. Yet even in its serenity, the home’s self-sufficiency breeds fragility; as Jackson later foreshadows, the sisters’ “castle” cannot remain unbreached.
For these reasons, the Blackwood estate initially functions as a sanctuary — a fragile bastion of autonomy shielding its inhabitants from a world that despises their difference.
VCE · Text Response
Text Response: English Section A- “Sunset Boulevard…
VCE Text Response essay scoring 85%: Billy Wilder's industry expose’ Sunset Boulevard reveals that devotion to one's goal above others can result in…
Billy Wilder's industry expose’ Sunset Boulevard reveals that devotion to one's goal above others can result in negative ramifications. Set during the rise of the American Dream and Consumerism, in a film industry succeeding the Silent Film era, Sunset Boulevard is a gothic film noir film that exposes the duplicity of Hollywood and the dangers of unbridled star adulation. Wilder posits that Hollywood's devotion to profit exists to the detriment of its workers, who are treated as disposable "cogs” in the "Dream Factory”. In addition to this, Wilder portrays through his Gillis's downfall that excessive devotion to fame and status in Hollywood above all else unfortunately results in figurative death. However, Wilder offers his audience reprieve from the dark underbelly of excessive devotion towards a certain goal in Hollywood, propounding that a young generation of Hollywood workers can lead it out of darkness.
Hollywood's undying devotion to profit and wealth above the welfare of its workers has detrimental effects for the workers in the film industry. The imperious Norma Desmond, a victim of the star system, is a resounding example of the tragic effects of the film industry's devotion to wealth. The overwhelming gallery of her "celluloid self, described as “Norma Desmonds and more Norma Desmonds”, connotes the aged star as a mass-produced commodity, compounding with Norma's own internalised self-objectification: “I'm not just selling a script- I'm selling me". The artificial nature of her existence is exacerbated further in the disturbing montage of "merciless series of beauty treatments"- deploying an arsenal of straps, masks and ointment, the Frankenstein's-monster-esque imagery of the bizarre procedures cements Desmond's character as entirely manmade and constructed, relegating her to a sellable product in Hollywood rather than a person. Thus, Wilder portrays Hollywood's profit-driven motives through the inhumane treatment of Norma Desmond, a former actress of Paramount Studios, positing that once an individual is deemed useless to the industry, they are swiftly "given the brush”and relegated into the shadows of oblivion. Furthermore, it is not only the actors on the silver screen who are exploited as tools- Joe Gillis, the jaded and world-weary scriptwriter, is too stripped of his human identity, his value measured by his contributions to the industry. In the macabre opening sequence, Gillis's sardonic voicover identifies himself as "nobody important really”. The "poor dope” in the swimming pool remains in fact entirely unnamed until Joe's flashback takes the audience back to his cluttered apartment, through which Wilder reveals the refusal of the film industry to recognise their workers’ individual identities, instead relegating them to their occupations alone. Similarly, Gillis's dead body is handled with a blatant lack of respect, fished out of the pool with "pruning hooks” like a “beached baby whale”; through this, Joe's narration exposes how his inability to generate profit for the industry renders him redundant and ultimately subhuman. In a post-WWII America, where mass-commercialisation ravaged the last semblances of humanity and respect in each industry, Wilder condemns the severity of commodification and dehumanisation in a lucrative Hollywood, where its players have become merely products and machines in its profit-driven agenda.
In addition to Hollywood's devotion to profit, Wilder portrays through Gillis's downfall the dangers of excessive devotion to fame and
VCE · Text Response
Text Response: English Section A- “Sunset Boulevard…
VCE Text Response essay scoring 90%: Hollywood's undying devotion to profit and wealth above the welfare of its workers has detrimental effects for the…
Hollywood's undying devotion to profit and wealth above the welfare of its workers has detrimental effects for the workers in the film industry. The imperious Norma Desmond, a victim of the star system, is a resounding example of the tragic effects of the film industry's devotion to wealth. The overwhelming gallery of her "celluloid self, described as “Norma Desmonds and more Norma Desmonds”, connotes the aged star as a mass-produced commodity, compounding with Norma's own internalised self-objectification: “I'm not just selling a script- I'm selling me". The artificial nature of her existence is exacerbated further in the disturbing montage of "merciless series of beauty treatments"- deploying an arsenal of straps, masks and ointment, the Frankenstein's-monster-esque imagery of the bizarre procedures cements Desmond's character as entirely manmade and constructed, relegating her to a sellable product in Hollywood rather than a person. Thus, Wilder portrays Hollywood's profit-driven motives through the inhumane treatment of Norma Desmond, a former actress of Paramount Studios, positing that once an
VCE · Text Response
Text Response: How does Jackson use her novel to…
VCE Text Response essay scoring 77.5%: Writing to chastise the social injustices of the post-war period, Shirely Jackson constructed the feminist…
Writing to chastise the social injustices of the post-war period, Shirely Jackson constructed the feminist novella ‘We Have Always Lived in the Castle’. Jackson developed her text to criticise the inherent inequality permeating within society, a reality that fosters notions of social disquiet and oppression. Through the integration of hierarchical capitalist and patriarchal systems, Jackson lambasts society for their complacency with this hegemony, rejecting materialism and empowering the women of her novel. Likewise through the suspicious and fearful atmosphere of the text, the author criticises the McCarthyist campaign. She utilises this society built within her text to manifest her inner desire to live in a just world and express her aversion for society's injustices. Ultimately Jackson criticises the outside world's actions through her novel, mirroring the world within it and accentuating the miserable existence it perpetuates.
VCE · Text Response
Text Response: Rainbow's End suggests that progress for…
VCE Text Response essay scoring 90%: Set on the backdrop of colonial Australia, Indigenous Australians were left culturally displaced as a result of the…
Set on the backdrop of colonial Australia, Indigenous Australians were left culturally displaced as a result of the stolen generation. Jane Harrison's play 'Rainbow's End', set in 1950's Australia, explores the complex lives which many Indigenous Australians experience of systemic racism and aspirations for change. Harrison depicts progress as highly complicated as it offers both material and educational advancements, while often demanding painful compromises for First Nations Australians. The progress offered to Indigenous Australians is heavily constrained due to the long-lasting impacts of systemic racism. Moreover, progress is shown to First Nations Australian characters at the cost of cultural identity and belonging. Furthermore, Harrison explores how, through Dolly's relationships, progress is often a painful yet transformative journey to change.
The playwright examines how the institutionalised racism of 1950s Australia in Shepparton acts as a barrier for the Indigenous community to progress to a life of equality. Throughout the play, assimilation is heavily involved, especially depicted through the character of the Inspector. The Inspector's assimilationist ideology is clear in his assertion that 'the Aborigine needs to be absorbed into the community, but how can he be absorbed until he learns to live like us?', a statement that illustrates how he, representing white authority, creates a barrier between Indigenous and Anglo-Saxon communities through perpetuating a dichotomy between the groups. This dichotomy symbolises how there has been little progress for equality towards Indigenous Australians as they are clearly divided. When moving to Rumbalara, the Dear family finds that their new housing is 'small, white and featureless'. The sterile, 'white' quality of the housing symbolises the hegemonic pressure to assimilate, representing a form of progress dictated entirely by white standards and expectations. This attempt at progress comes at the cost of the Dear family's concept of a home, as they lose their deeply personal humpy to a house that is 'anything but loveable'. Furthermore, the demolition of their humpy when the Dear family moves to Rumbalara reflects how the government is attempting to assimilate the Indigenous Australians against their will, the illusion of progress complicated through the loss of familial and cultural history through the loss of their humpy. Progress for Indigenous Australians is backhanded throughout the play; what is considered 'advancement' to White institutions, in fact, comes at a greater cost to the Indigenous than if they did nothing at all.
VCE · Text Response
Text Response: Billy Wilder’s Sunset Boulevard examines…
VCE Text Response essay scoring 80%: Sunset Boulevard, directed by Billy Wilder, is a 1950s noir melodrama that explores how the popularity of the…
Sunset Boulevard, directed by Billy Wilder, is a 1950s noir melodrama that explores how the popularity of the Hollywood film industry encouraged a social fixation on the glory of celebrity. Throughout the film, Wilder explores the nuances of success and fame, sometimes pitting the two qualities against each other. Sunset Boulevard demonstrates that striving for career success can have both positive and negative outcomes; however, it suggests that those who are swept up in Hollywood’s preoccupation with fame will almost always experience negative consequences. Furthermore, the film interrogates the role of the audience in this destruction, insinuating that audiences perpetuate Hollywood’s obsession with fame through an intense fascination with gossip and scandal, in a way that conceals its true costs.
Wilder uses the character of Joe Gillis to warn the audience about the harmful effects of self-interest and an obsession with success. At the beginning of the film, Joe, a struggling screenwriter, devises ‘a little plot’, lying that Norma’s ‘silly hodgepodge’ script is ‘fascinating’ so she will hire him as an editor. This suggests that Joe’s self-interest has destructive implications, as he is willing to indulge Norma’s self-delusion to gain money and eventual success, even though the relationship he establishes with Norma is founded on dishonesty. Wilder also uses the ‘dead monkey upstairs’ as a symbol of Joe’s impending doom. When Joe refers to the monkey as Norma’s ‘only child’ and ponders the emptiness of Norma’s life, he acknowledges that the monkey was a wild animal that had been kept locked in the house as a pet – a plaything for Norma. As Joe watches over ‘the last rites for that hairy old chimp’, the close-up shot of Joe’s face, framed by the blinds and the bars of the window frame, implies a sense of confinement, signalling to the audience that it is now Joe who is trapped in the house. Wilder’s implicit comparison between Joe and the monkey can be seen as a warning to the audience that Joe’s desire to get ahead could lead to him sharing the monkey’s fate. The characterisation of Joe, and his character arc, demonstrate that ambition and selfishness can be disastrous for an individual and their relationships.
VCE · Text Response
Text Response: “Are you saying you’d rather live in a…
VCE Text Response essay scoring 75%: During the 20th century Aboriginal Australians endured constant Assimilation and oppression from Eurocentric…
During the 20th century Aboriginal Australians endured constant Assimilation and oppression from Eurocentric Anglo-Australians. Jane Harrisons play Rainbows End encapsulates a matriarchal Aboriginal families fluctuated assistance with life from different sources with varying success. Attempts to help covered in condescension are rejected whilst well-meaning help elicited by family provides successful help due to strong relationships and similarities; while compassionate help provided by individuals equates to successful genuine help which exemplifies how this type of help is praised/warranted against unsuccessful tokenistic help, that is met with futility.
Harrison chastises the condescending implications of offers of assistance, imposed behind Anglo-Australians attempts to help Indigenous Australians, as these results are usually shrouded in racial ignorance. Errol is an Anglo-Australian who romanticises the Aboriginal-Australian, Dolly. Errol offers dolly “the world” and questions why she chooses to “live in a humpy by the river” which humiliates Dolly’s lifestyle and subsequent culture as her house is where “people are looking out for each other” Through contrasting the distal values between interracial relationships Harrison exposes the cultural ignorance Anglo-Australians possess towards the Indigenous culture as they attempt to impose the idea of a “better life” upon Indigenous Australians, consequentially condemning the condescending attitude Anglo-Australians possess towards the Indigenous lifestyle choices. Furthermore, the Aboriginal housing plan to Rumbalara attempts to improve upon Aboriginal housing, however it leaves their house “concreate, small, white and featureless” to which its dubbed “unlovable” which is the ramification of ignorance as their “humpy” is considered to become the “white house,” a judgement made by the radio announcer. By sardonically juxtaposing the Rumbalara project as an improvement, Harrison condemns the ignorance of Anglo-Australians attempts to elicit their ideals of Australia upon Indigenous Australians, disregarding any regards towards their culture and lifestyle. Thus, Harrison exposes the ignorance of condescendingly unsuccessful attempts to help, as their attempts are often shrouded in ignorance and condescension which forbids successful attempts of help.
VCE · Text Response
Text Response: Oedipus the king demonstrates there is no…
VCE Text Response essay scoring 72.5%: The eponomously titled play, Oedipus the King explores the impact of the divine will, and the power fate has on…
The eponomously titled play, Oedipus the King explores the impact of the divine will, and the power fate has on individuals' decisions. Sophocles criticises those who choose to be ignorant towards their fate, or choose to actively charge it through knowledge, as this leads them closer. However, he highlights how wretched fate can be escaped through reverence towards the gods and living a balanced life.
is physically blind, he chooses to lift his "own burdens". Tiresias celebrates those who choose to live with this mindset, in which acceptance of fate, rather than yearning or ignorance can lead to the avoidance of a worsened fate. Though Oedipus could physically see, he was "blind to the corruption of [his] life", in which his relentless pursuit for knowledge, lead him closer to fate, which could've been avoided if he accepted it. Sophocles highlights the importance of acceptance, as worsened fate could be avoided if reverent towards the gods. Furthermore, Sophocles upholds the power of the gods, through "not be[ing] more clear" towards "Apollo'[s] commands". In being obedient towards the gods, a worsened fate can be avoided, as reverence and living a moral life is the key to living in Sophocles's eyes. Sophocles condemns those who choose not to follow the will of the gods. However, he highlights the power the gods have and praises those who seek to follow their values. Sophocles spotlights the inevitability of fate, but shows the escapability of fate through reverence.
gods' power, which was soon overpowered through the gods' power in under a day, in which he was exiled from the city he held the most power over. Sophocles' critiques the desire for power and control, as living in disobedience towards the gods will only lead one closer to their downfall. As shown in the short time frame of Oedipus' fall, Sophocles highlights the power of the divine will, and that fate is determined by the gods, despite one's yearn for knowledge and control.
Although spotlighting the consequences in ignorance and the yearn for knowledge in facing destiny, Sophocles' upholds those who choose to be reverent towards the gods, as this can avoid a worsened fate. Through Tiresias' choices to keep Oedipus' fate, Sophocles celebrates those who choose to live in a state of Eudamonia as this proves to show reverence towards the gods. Through the metaphor of blindness and light, Sophocles comments on the decisions that impact an individual's ability to face their fate. As Tiresias
VCE · Text Response
Text Response: sunset boulevard is a tale about greed and…
VCE Text Response essay scoring 70%: Billy Wilder’s film noir Sunset Boulevard, released in 1950, tells a story about greed, deceit and manipulation.…
Billy Wilder’s film noir Sunset Boulevard, released in 1950, tells a story about greed, deceit and manipulation. Following central characters Norma, Joe, Max and Betty, the story shows Hollywood’s deception for fame, personal benefit and love.
The film begins by the narrator (Joe) recounting events that lead to his death. Joe’s freedom from deception is symbolically represented by his death and his cynical and detached narration to inform the audience of "the truth, the whole truth", before the media, which Wilder depicts complicit with Hollywood’s deception, tangles up the events. The media’s deception is showcased by Norma’s recounts of olden days “when Madame used to be big” and ever present in the media, which ultimately Norma faded away as Norma became less profitable with age, and the media chased after up and coming stars to greedily profit off of.
VCE · Text Response
Text Response: Mary Oliver portrays nature as a teacher…
VCE Text Response essay scoring 90%: To ignore nature is to forget the language of life itself. This is the philosophy central to Mary Oliver's…
To ignore nature is to forget the language of life itself. This is the philosophy central to Mary Oliver's anthology, New and Selected Poems Volume One. Oliver casts the natural world as a reflection of human life, using its patterns of growth, decay, and renewal to instruct readers on navigating both joy and suffering. By drawing deliberate parallels between natural cycles and human experience, she positions the environment as a teacher: patient, insightful, and unjudging. Writing in the 1980s, the poet's work marks a cultural shift towards introspection which allows its insights to remain timeless in an era constantly focused on the pursuit ahead. Oliver presents nature as a guiding force whose cycles teach humanity the essential balance between holding on and letting go, revealing that both renewal and loss are vital to existence. Indeed, her poetry presents nature to yield moral and emotional growth through careful attention and lived experience. Oliver exposes, however, the limits of nature’s teaching, revealing that when pain is born of human corruption, healing must come through one’s own confrontation with the past.
Certainly, Oliver portrays nature as a profound teacher whose cyclical patterns of decay and renewal instruct humanity on how to live, love, and ultimately let go. In ‘In Blackwater Woods’, Oliver’s attentive observation of the natural world reveals that its wisdom lies in modelling how to surrender to impermanence with grace. The poem opens with the transformative image that “the trees are turning their own bodies into pillars of light,” a metaphor that renders nature both sacred and didactic. The trees’ shift from solid, earthly matter to light suggests the passage from physical form to spiritual essence. Nature reveals that impermanence is not mere loss, but transformation, a movement toward illumination or release. Just as the trees are momentarily transfigured by light, human life too is fleeting yet capable of beauty and revelation in its passing. Trees, often symbols of endurance and rootedness, turning into light shows that even the most seemingly permanent parts of nature are subject to change. Nature teaches the individual to accept that nothing remains fixed, and that stability itself is an illusion. The poet's subsequent phrase, “are giving off the rich fragrance of cinnamon and fulfilment,” symbolises the idea that beauty and completeness can arise at the very moment of decline. In the context of nature teaching humanity about impermanence, it suggests that endings, like the tree’s decay, are not barren or empty, but release their own kind of richness. The “fragrance” embodies the lingering essence of life, showing that even as things fade, they continue to give, to nourish, to fulfill. As the poem progresses, Oliver’s tone shifts from observation to moral instruction. She declares that “to live in this world you must be able to do three things,” adopting the imperative voice of a teacher. This structural pivot mirrors nature’s role as a guide, instructing humanity “to love what is mortal,” “to hold it against your bones,” and “when the time comes to let it go, to let it go.” The repetition of “let it go” mimics the cadence of release, transforming the poem’s rhythm into an act of surrender. Here, Oliver elevates nature beyond aesthetic appreciation, positioning it as a vital moral force that teaches how to live meaningfully amidst transience. Similarly, ‘Morning Poem’ portrays nature as a patient instructor that renews and restores humanity through its daily rebirth. Unlike ‘In Blackwater Woods’, which finds wisdom in surrender, this poem locates it in beginning again. “Every morning the world is created,” Oliver writes, employing biblical allusion to cast dawn as divine instruction. Through repetition, nature teaches the act of constant recreation, reminding humanity of its boundless capacity for renewal. Moreover, Oliver's seasonal imagery of leaves through the line "the heaped ashes of the night turn into leaves again" evokes nature’s quiet lesson in how to live with transience. As leaves bud, flourish, and fall, they mirror the natural rhythm of growth and surrender, reminding humanity that change is both inevitable and necessary. Through this cycle, nature teaches acceptance, that beauty lies not in permanence, but in the grace with which one lets go and allows renewal to unfold. Ultimately, both poems affirm Oliver’s conviction that nature’s teachings, and its deepest importance, lie in its duality: it instructs humanity in both letting go and beginning anew, guiding us to live in reverence for the world that sustains us.
VCE · Text Response
Text Response: “You’re Norma Desmond. You used to be in…
VCE Text Response essay scoring 80%: Through his masterful fusion of film noir, Gothic satire, and meta-cinematic critique, Billy Wilder’s Sunset…
Through his masterful fusion of film noir, Gothic satire, and meta-cinematic critique, Billy Wilder’s Sunset Boulevard (1950) exposes the degree to which he views relationships to be transactional, on a single benedictory standpoint, within Hollywood, directing the film to indicate instances of prioritising materialistic things over fostering and nourishing genuine contention. By creating a stark and awkward contrast, Wilder can showcase those for who don’t align themselves with the transactional aspect of Hollywood. The director makes an argument that every relationship is transactional to an exist, including the one the viewer has with Hollywood – the movie they are viewing.
VCE · Text Response
Text Response: 'Now you're officially the best-looking…
VCE Text Response essay scoring 77.5%: Set during the post-apartheid era, Trevor Noah’s memoir Born a Crime explores the struggles of poverty and…
Set during the post-apartheid era, Trevor Noah’s memoir Born a Crime explores the struggles of poverty and oppression that the black South Africans endured, under a serious but also humorous tone. Growing up in a society built on the foundation of institutionalized racism, as a mixed-raced child, it forces him into a childhood of resilience and pain. Noah showcases that humour as his strongest defence and his strongest offense, but to some extent implies that it can expose his weak points in times of humiliation. Living in the treacherous world of violence, Patricia taught Noah how to live freely. Instead of being chained down by resentment, he is taught to forgive and move on by laughing, a lesson that would guide him from being imprisoned in the cycle of poverty. Although it would be one of his greatest strengths, in times of humiliation and vulnerability, it would be his greatest enemy.
Noah illustrates the mentality of the masses as inept in venting emotions and emphasising that their reliance on harbouring them would only lead to further despair. Throughout the memoir, Patricia teaches Noah to utilize humour to transcend bitterness and trauma. During the vignette at the mulberry tree, Patricia ‘kept laughing it off, telling [Noah] to get over it’, with him commenting that she found ‘everything was funny’. Highlighting her ability to defuse situations in times of crisis into laughter, which contrasts with the under ruling foundations of the apartheid. Instead of letting the bitter hatred culminate, she ‘lets go’, which parallels her defiance against ‘apart hate’. On the other hand, Abel, a broken figure who encapsulates the generational trauma caused by the ostracisation, was ‘venting his rage on a twelve-year-old boy’, embodying the ‘devil’. Abel’s metaphorical depiction personifies the generational psychological wounds inflicted, but unlike Noah, he has no outlet for his hatred other than to reciprocate it back onto others. Noah demonstrates how the decades of trauma had conditioned many to internalize the oppression, and that even after the apartheid dissolved, the pain amongst black South Africans was still prevalent. Emphasising the importance of humour in his life, to relinquish the pain to protect him from the evils of harbouring deep resentment. Ultimately, Noah tributes Patricia for educating him on the vitality of having a coping mechanism to protect oneself from the pain of life and evils, to break the cycle of hatred.
VCE · Text Response
Text Response: Noah depicts division as toxic. Discuss.
VCE Text Response essay scoring 80%: In Born A Crime,Noah depicts division as toxic and harmful but also can be overlooked, The memoir portrays the…
In Born A Crime,Noah depicts division as toxic and harmful but also can be overlooked, The memoir portrays the separation of racial groups as unfair and cruel. Additionally, Noah explores how division can be ignored depending on perception. Despite his constant criticism, Noah adapts to best suit this destructive enforcement of division.
Noah’s criticism of division is consistent throughout the memoir, portraying it as dehumanising and cruel. He commends the text with division itself. The text opens with the “Immortality Act”, highlighting the difference in the way laws are enforced on “white” and “black” people. If a black man was caught having sex with a white woman, “he’d be lucky if he wasn’t charged with rape”, indicating the harsh consequences, or even accusations, black people would face as compared to white people. This doesn’t just highlight the injustice in Apartheid’s legal system, but also portrays women as “vulnerable”, implying she wouldn’t voluntarily engage in sexual activities with a black man. This is only one of many ways he condemns division. In the chapter, “The second girl”, Noah uses statistics to denounce the apartheid’s division of land based on the colour of one’s skin. “Despite the fact that black people made up 80% of South Africa’s population, the territory allocated for the homelands was about 13% of the country’s land.” Noah uses numbers and percentages to explain how under-privileged and over-crowded the places “allocated” for black people were. His word choice of “allocated” conveys the dehumanising of black people that white people, illustrating the dystopian nature of apartheid. Noah creates a sense of sympathy in the audience by listing the cruel realities of the homelands with “no running water, no electricity" and how “people lived in huts”, demonising the act of separation based on the colour of people's skin.
VCE · Text Response
Text Response: “I hate that word. It’s a return to the…
VCE Text Response essay scoring 75%: Intro Fame is a seductive illusion, drawing individuals into its embrace while mercilessly discarding those who can…
Intro
Fame is a seductive illusion, drawing individuals into its embrace while mercilessly discarding those who can no longer captivate audiences. Billy Wilder’s 1950’s American film Noir Sunset Boulevard delivers a deep exploration into the obsession individuals have with fame and how its allure is ultimately a destructive force, revealing how Hollywood entices individuals with promises of eternal stardom with concealing the harsh reality of its disregard and disposability of those who are no longer deemed valuable. Set against the backdrop of post-World War II, a time when Hollywood was seen as the pinnacle of success and the American Dream was idealised, the film dismantles the illusion that hard work and ambition guarantee prosperity. The booming entertainment industry in the 1950s promised stardom to those who pursued it, yet Wilder reveals that beneath the glamour lies a ruthless system that exploits and discards individuals once they are no longer valuable. This idea is encapsulated in Norma Desmond’s bitter remark, “I hate that word. It’s a return to the millions of people who have never forgiven me for deserting the screen.” Her words highlight the cruel reality that stars are not allowed to fade on their own terms, once they lose relevance, they are cast aside, their absence perceived as betrayal rather than misfortune. The film undertakes stark contrasting setting to highlight Hollywood’s paradox, a place that offers glamour and success but ultimately leaves its stars broken and forgotten. Wilder then contrasts the fates of those who fall victim to Hollywood’s illusions with those who manage to see through its façade. Ultimately, while the film critiques Hollywood as a callous industry that discards people once they lose their appeal, it also suggests that those who retain their own sense of agency can resist being consumed by the seductive force of fame. Through this, Wilder ultimately conveys the idea that Hollywood's promise of stardom is an illusion, and that true fulfillment cannot be found in external validation but rather through self-awareness and authenticity.
VCE · Text Response
Text Response: Sunset Boulevard is a story of illusion…
VCE Text Response essay scoring 87.5%: Exposing the powerlessness of “naive dream[s]” of fulfillment against Hollywood’s deceit which has “seized…
Exposing the powerlessness of “naive dream[s]” of fulfillment against Hollywood’s deceit which has “seized [their] heart[s]”, Billy Wilder’s quintessentially American film Sunset Boulevard [1950], poignantly reveals Hollywood's glamourous facade as a front for a false belief. Compounded by the skillful overlaying of a gothic lens, this noir film highlights the idea that the victims of Hollywood’s allure choose to be engulfed in the comfort of their own delusions, further, Wilder reveals the consequences of continuing to live in a world disconnected from reality. Additionally, behind the chaos that overwhelms its characters, is the mastermind, Hollywood, creating and fueling its victims false perception of reality. Through his intelligent blend of fiction and meta cinema, Sunset boulevard emerges as a powerful cautionary tale, warning the audience on the devastating effects of the Hollywood system.
Initially contextualising the illusory world of Sunset Boulevard as a brutal reality, Wilder reveals the concerning choice of Hollywood’s victims to succumb to the comfort of their own delusions. The setting of Norma Desmond’s dilapidated mansion with dark curtains shielding her from the sunlight and outside world, demonstrates her extreme disconnect from reality, choosing to be irrecoverably submerged in the comfort of her own desires. Further, the countless mirrors and portraits of herself are used as a motif that reinforces Norma’s delusion, where she is in an endless confrontation with her past self, symbolising her obsessive self-regard and fixation on her own image. Hence, her choice to place mirrors and portraits in every corner of the house emphasises her decision to be engulfed by the glory of her silent-era. The intertextual reference to Ms Havisham from “Great expectations” depicts Norma as an unnerving reincarnation of her who is “rotting” in the tattered wedding dress all because Hollywood gave her the “go by”. Ms Havisham being unable to accept change and stopping all the clocks in her house, foreshadows Norma’s preserved fantasy world that keeps her insulated from the truth, additionally, this intertextual parallel mirrors Norma’s choices to purposefully be stuck during her glory days. Moreover, Edith Head’s costume selection for Norma being leopard print jackets from her glamour days, demonstrates how Norma is refusing to acknowledge that Hollywood has moved on without her, Head’s design thus illuminates the notion that Norma is choosing to be fixated on an outdated version of herself. Furthermore, Max Von Mayerling replaying Norma’s silent films disturbingly reveals that they mutually fuel each other's delusions, which further imprisons Norma in her own chamber of “sleepwalking” in the dreams of a “return”. Through the perspective of one who is entrapped in the past, Wilder reveals that the victims of Hollywood’s allure choose to surrender to the trickery of their own delusions.
VCE · Text Response
Text Response: 'Flames' illustrates that being connected…
VCE Text Response essay scoring 72.5%: In Robbie Arnott's magical ralism novel, 'Flames', he explores the multidimensional and complex network of…
In Robbie Arnott's magical ralism novel, 'Flames', he explores the multidimensional and complex network of connection. Although individuals way be driven to proceed with life by many different factors, Arnott contends that the maintenence of connections is an extremely significant factor that contributes towards prospering. Arnott unveils how a loss of identity can follow having unhealthy connections. Additionally, Arnott uncovers the karma that one faces due to a hostile relationship with nature. Moreover, Arnott highlights the importance of having positive connections during the time that allows them to exist.
Arnott posits that unhealthy connections lead to a loss of self preservation and identity. In 'Grove', Levi exclaims to Charlotte, "I don't need help, I'm helping you" whilst makig Charlotte's "gumwood" coffin, despite her existence. Levi making Charlotte's coffin is symbolic for the distractions one may seek, in order for then to mitigate the impacts of grief, as they mourn over the loss of what was once a loving connection. Levi exclaiming how he is "helping [Charlotte]" and doesn't require his own help is employed by Arnott to elicit a sense of concern for the reader, as they may not only perceive the unnatural actions of Levi's coffin-making frenzy as an irrational coping strategy, but also to reflect on their past actions that were disproportionate, although catalysed by the mourning of a loved one. Additionally, in 'Feathers', Allen exclaims, "How I hate them; Oh, I wish them pain", in reference to Nicola anf Charlotte. Not only does Allen's cormorant transformation act as the climax that reflects his shift in personality due to his prior harmful connection to the wombats, but also is reinforced by the alliterated 'h' sounds from "How I hate", capitalising on the immense shift in personality, growing a hatred for Charlotte and Nicola, who he previously respected. Although Arnott unveils the impacts of unhealthy connections, he continues to unveil how nature fights back to negative connections with itself.
VCE · Text Response
Text Response: Rainbow's End suggests that progress for…
VCE Text Response essay scoring 85%: Set on the backdrop of colonial Australia, Indigenous Australians were left culturally displaced as a result of the…
Set on the backdrop of colonial Australia, Indigenous Australians were left culturally displaced as a result of the stolen generation. Jane Harrison's play 'Rainbow's End', set in 1950's Australia, explores the complex lives which many Indigenous Australians experience of systemic racism and aspirations for change. Harrison depicts progress as highly complicated as it offers both material and educational advancements, while often demanding painful compromises for First Nations Australians. The progress offered to Indigenous Australians is heavily constrained due to the long-lasting impacts of systemic racism. Moreover, progress is shown to First Nations Australian characters at the cost of cultural identity and belonging. Despite these costs, Harrison suggests that genuine progress stems from cultural pride, unity, and the reclamation of agency.
VCE · Text Response
Text Response: ‘High Ground illustrates the consequences…
VCE Text Response essay scoring 90%: Stephen Johnson’s 2020 film High Ground examines the violent collision between British colonisers and the Yolngu…
Stephen Johnson’s 2020 film High Ground examines the violent collision between British colonisers and the Yolngu people in Arnhem Land during the early twentieth century, exposing how conflicting cultural values surrounding land, law, and justice shape the lives of both groups. High Ground significantly critiques the destructive consequences that arise when one culture seeks to dominate another, ultimately suggesting that the clash between Indigenous and colonial values leads to the erosion of identity and the corruption of justice; while fleeting moments of empathy hint at reconciliation, Johnson reveals that true coexistence remains impossible without mutual respect and recognition of indigenous values.
High Ground establishes that the clash of cultural values leads to violence and dispossession. Violence is born from the colonial desire to control land and its individuals. The opening sequence juxtaposes a serene panorama of Arnhem Land; lush canopies, tranquil water, and Aboriginal families living in harmony, with the sudden chaos of the massacre that follows. Johnson’s use of sound and camera movement intensifies this contrast: the calm, rhythmic singing of the Yolngu is replaced by the violent intrusion of gunfire, dust, and the frantic motion of horses. This visual and auditory shift captures the moment when one worldview violently replaces another. The dialogue between Travis and Baywara during the massacre crystallises the moral and cultural divide at the heart of the film. When Travis insists, “We don’t want any trouble,” and Baywara replies, “It’s our land, we should fight,” the film exposes the colonisers’ hypocrisy—they bring “peace” at gunpoint. The resulting bloodshed symbolises the destruction of Aboriginal harmony with Country. For the Yolngu, the land is not property to be owned but a living entity that connects them to their ancestors; for the colonisers, it is territory to be claimed. Through fast-paced editing, low camera angles, and the use of dust and smoke to obscure the frame, Johnson conveys the suffocating chaos of invasion.
The massacre scene sets the tone for the film’s exploration of dispossession. Not only are lives lost, but Aboriginal law, language, and spiritual connection to Country are undermined. The lack of punishment for the perpetrators of the massacre highlights the colonial belief that violence against Indigenous people was justified as a necessary step towards “civilisation.” This early act of violence establishes the film’s central argument: that the collision of incompatible cultural values—one valuing domination, the other harmony—produces irreparable loss and moral corruption.