VCE · Text Response
Text Response: "...but I wanted her to be unhappy,…
VCE Text Response essay scoring 80%: Throughout ‘We Have Always Lived in the Castle’ (WHALITC), Shirley Jackson explores a world of unrelenting cruelty.…
Throughout ‘We Have Always Lived in the Castle’ (WHALITC), Shirley Jackson explores a world of unrelenting cruelty. Published in 1962, the novel analyses patriarchal social structures as well as the evolving gender roles, following the return of men from WW2. Additionally, WHALITC is influenced by the 1960s sexual revolution, where women fought for more independence. The novel is set in 1960s rural Vermont and highlights and criticises the harmful social structures which tear communities apart, rather than bringing them together. The callous cruelty of the world of WHALITC is shown through the limits and expectations of women which simultaneously aim to subdue and punish them. Additionally, the capitalist social structures create animosity and feelings of unrest leading to dangerous and prejudiced societies. However, Jackson’s created world is not all vicious brutality, as seen in the empowerment and independence of outcasted individuals. Overall, Jackson presents an astute critique of society through her creation of the ruthless world of WHALITC.
The traditional gender roles of the 1960s restrict women and ostracise those who do not conform, creating a harsh and biased world. Following the end of WW2, women were forced out of the workforce and back into lives of domesticity. Constance Blackwood represents all that a stereotypical woman of the time should be. She answers “Yes, Uncle Julian?” whenever he calls for her and spends much of her time managing the house and cooking. She is described as a “fairy princess”, symbolising how she is the picture of femininity and the role of women in the 1960s. Her mother’s pearls represent the roles and responsibilities of women of the time, and the symbol is highlighted when Constance dons them and begins taking on new responsibilities. She is limited by society’s expectations of her to become a wife and mother and to wear the symbolic pearls. Conversely, Mary Katherine (Merricat) Blackwood is the antithesis of Constance. She is “dirty”, “crazy” and “disobedient”, exactly the opposite of what society expects from young women. She practices witchcraft and often relies on sympathetic magic for “safeguards”. Also, she buries “treasures” in the ground like bodies and speaks to her black cat, as if it were a witch’s familiar. Her abnormal, superstitious behaviours set her apart from others and are one of the reasons for her social persecution. This draws on symbolism from the Salem Witch trials in Massachusetts, where women were tortured and put to death for not conforming to society’s expectations. Additionally, this connects to Jackson’s life as she was rumoured to practice witchcraft as well. Merricat and Constance Blackwood are two sides of the same coin, both limited by expectations and persecuted for deviation from the norm. Through this, Jackson critiques traditionalism and its rigid gender roles, which aim to make women subservient and to control their freedom.
VCE · Text Response
Text Response: Desire is the most dangerous force in…
VCE Text Response essay scoring 67.5%: Billy Wilder's 1950s Sunset Boulevard serves as a glimpse into the reality of the filmmaking industry in a…
Billy Wilder's 1950s Sunset Boulevard serves as a glimpse into the reality of the filmmaking industry in a post-war context, revealing the lived experiences of those both in the cogs of the system and in front of the spotlight. Depicted in the style of a despondent film-noir, Sunset Boulevard exemplifies the glamour expected of Hollywood laced with elements of gothic horror and suspense, reinforcing Wilder's warning of the moral & personal sacrifices demanded by the industry to fulfil one's desire for fame and success. Moreover, while he acknowledges how the desire for individualistic success is the result of an emerging post-war culture shift, Wilder argues that self-centered ambition has fed a corrosive system within Hollywood, punishing all within the industry in the collective pursuit of quick, convenient profit. Ultimately, Wilder criticises the depraved reality of a Hollywood that no longer holds merit to the process of filmmaking, where the industry exploits the desires of hopefuls into profit at the cost of creative expression.
VCE · Creative Response
Creative Response: first steps
VCE Creative Response essay scoring 65%: And when her name surfaced again, it didn't hollow me out as it once would. But it wasn't always like this. The…
And when her name surfaced again, it didn't hollow me out as it once would.
But it wasn't always like this.
The breakup was smooth. No slammed doors. No loud shouting. Just a few words and the longing silence, which still hasn't seemed to go. The exchange of clothes was probably the hardest. The last physical element I could hold onto, gone. Her perfume engulfed me. It was never too strong, but somehow it was always the first thing I smelt when the front door creaked open, and the initial smell had settled down.
Cleaning up the day after, I found a photograph. Small enough to hold in one hand, and framed in a pink, delicate border. It was of us. It was more than just a photograph, though. It was a moment of time, captured forever. A moment where you didn't care about the ice cream around your lips, or the way the corners of your mouth pointed in when you smiled. It was a moment where we didn't care about our hair in the wind, and a moment where we didn't care about the future. A moment. A moment caught in time forever. Lying in bed at night, I rubbed my thumb over the florally pink frame until the photo blurred and I drifted off.
The days following did not get any easier. Greeted by the smell of her perfume even after countless bottles of air freshener, and her favourite channel on the T.V. I hadn't changed it. Life was moving fast now she wasn't around. Each meal blurred into the next. Each day blurred into the other. Everything changing, apart from the photo. I look back at it, for what I know won't be the final time and wonder where it all went wrong. The photo was never just a photo. It represented not only how we felt in the moment, but all of the memories which were made and the future which was never to be made.
VCE · Text Response
Text Response: You can trust me. I am ready to help ... '…
VCE Text Response essay scoring 67.5%: Sophocles’ ‘Oedipus the king’, performed at the Festival of Dionysus 430BC, carefully examines the double-edged…
Sophocles’ ‘Oedipus the king’, performed at the Festival of Dionysus 430BC, carefully examines the double-edged sword nature of pride and nobility, it can shield and bring a leader to glory and kingship, but can also be the catalyst that ignites the downfall of a capable leader. Whilst being a responsible and accountable King, Oedipus’ vow of ‘bring it all to light myself’ his care for his citizens became the engine of his catastrophic downfall and agony. Furthermore, Oedipus’ downfall is accelerated by his pride and subtle arrogance, whilst acting with nobility, he lacks qualities of humility, bringing pain not only to himself, but also his loved ones and trusted kinsmen. However, when Oedipus discovered truth and punishes himself, his action demonstrates honour while accepting his fate, he discovers another form of honour that contains pride, humility and reconciliation.
Sophocles portrays Oedipus as a heroic and responsible leader of the city of Thebes, however, it is exactly this sense of nobility that caused his downfall. Oedipus possesses many qualities of a hero and an honourable leader, having defeated the Sphinx and saved the city of Thebes, he was trusted by the Thebans as their heroic figure, being rated as ‘best of men’. He is always aware of his duty and carries his responsibility, when Thebes was suffering in the ‘red waves of death’, Oedipus ‘acted at once’, Sophocles highlights Oedipus’ decisiveness and quick judgment that led him to the honour he has. Oedipus cares for his citizens, he ‘grieves for … my people, far more than I fear for own life.’, his sacrificial spirit soon became his obsession with the truth. Oedipus’ reassurance to the citizens, ‘I will bring it all to light myself’, the modal verb ‘will’, symbolises Oedipus’ determination in saving Thebes, yet by mistake he blurs the line between the gods divine power and human agency, he plays as the role of the gods, in which he ‘grant’ others prayer. Sophocles foreshadows that the truth Oedipus seeks is beyond his capabilities, with the light imagery, the play wright implies Oedipus’ downfall is intertwined with truth. Furthermore, ignoring other peoples’ advice, as he is closer to the truth Oedipus enters a state of obsession and stubbornness, at Oedipus’ anagnorisis he exclaims ‘all burst to light!’ Sophocles utilisation of the verb ‘burst’ creates an imagery that emphasises the sense of shock and impact Oedipus experiences, highlighting the pain which truth bring to Oedipus. Sophocles suggests that
VCE · Text Response
Text Response: Topic: ‘Sunset Boulevard reveals Hollywood…
VCE Text Response essay scoring 80%: Hollywood survives by turning vulnerability into currency, consuming those desperate to be seen until nothing of…
Hollywood survives by turning vulnerability into currency, consuming those desperate to be seen until nothing of their humanity remains. Directed by Billy Wilder in 1950, Sunset Boulevard explores the exploitative and deceitful nature of Hollywood. Wilder elucidates the unavoidable limitations Hollywood imposes on its victims, leaving them vulnerable to its forbidding consequences. This sense is reinforced by Hollywood’s aptitude to erode sanity, force its victims to resort to a loss of integrity, and cause individuals to disguise deceit in kind actions.
In Sunset Boulevard, conforming to Hollywood’s false promises deteriorates its prey's sanity, as the pursuit of fame blurs the line between illusion and reality. Norma Desmond, a once renowned silent film star, exemplifies this destructive effect. She clings desperately to the idea that the world still worships her, even as reality contradicts her belief. Her obsession with returning to the screen exposes the corrosive effect of Hollywood’s illusions as she laments how her fans never forgave her for ‘deserting the screen’. Norma’s severe blindness of reality escalates as she exclaims ‘that’s a lie! They still want me! I’m the greatest star of them all,’ showcasing her spiralling delusion of her relevance in the industry. Norma’s surrender to her corrupted mental state is exemplified in her chilling final line, declaring ‘Mr. DeMille, I’m ready for my close-up’, signifying complete immersion into illusion and the total collapse of her mental stability due to Hollywood’s predatory nature. Her decaying mansion, filled with faded portraits, and empty, echoing rooms serve as a physical manifestation of Norma’s deterioration of her mind and the way Hollywood preys on those desperate to reclaim lost glory. Wilder portrays Norma’s delusion and decaying mansion to demonstrate how Hollywood preys on ambition and obsession, illustrating the destructive consequences of an industry built on exploitation and false promises. Wilder’s meticulous mise-en-scene, particularly evident in the final scene of the movie when Norma walks down the stairs, visually clarifies the corrosive effects of Hollywood on its victims. Ultimately, Norma’s delusion, obsession, and the decaying grandeur of her mansion exhibit how Hollywood preys on ambition, exploiting vulnerability and eroding both identity and sanity.
VCE · Creative Response
Creative Response: Power of stories
VCE Creative Response essay scoring 87.5%: Primer, Smooth the primer across your face, ensuring your makeup survives the day. Concealer, Hide every…
Primer, Smooth the primer across your face, ensuring your makeup survives the day.
Concealer, Hide every blemish, every imperfection, until the mirror shows someone flawless.
Foundation, Layer it on thick- hide the fact you're tired, hide the tears and all the nights you wish you could forge.
Bronzer, Sculpt your cheekbones, sharpen your jawline - carve away what you really hate.
Blush, a soft pink to seem alive and approachable, despite how you feel hollow
Highlighter, Brighten the illusion
Mascara, waterproof, always. You never know when you’ll need to cry silently
Setting spray, Lock it all in. Don’t let it move. Don’t let YOU show through.
Every morning, I sit at my brightly lit vanity, concealing my true identity and self. The mirror before me is cracked- one side sharp, reflective, perfect; the other is fractured and distorted. I glare at both, unsure of which is real
“ Ugh, another pimple”
“Why can’t I be naturally pretty like her?”
The whispers, morphe to talking slowly evolving into a shouting chorus, the one i created and now conduct. They’re not my words, not really- just the stories I’ve been told since childhood. Stories that say beauty equals worth. Stories that turn every imperfection and pimple into failure.
VCE · Creative Response
Creative Response: Topic : Personal Journey
VCE Creative Response essay scoring 60%: There are stories we tell not just to be heard, but to heal. This one is for anyone who’s walked away from…
There are stories we tell not just to be heard, but to heal. This one is for anyone who’s walked away from someone they love, a parent, a place, a version of themselves. It’s for those who’ve carried the weight of silence and regret, who need to know that reconciliation isn’t always about the past, it’s about coming back to ourselves. I want to show that through this story, the journey of returning doesn’t just happen in a place, but in the soul.
Not after five years. Not after storming out, the door slamming behind me, her words echoing like broken glass: "If you walk out now, don’t come back." I didn’t. Until now.
The train rattled through grey towns, each one a blur of memories I had long buried. I looked out the window and saw my relection. Older. Harder. But there was something else I couldn't quite name, a weight, a change. I pulled my phone from my pocket. The short message from the hospital: Claire Morris. Deceased. Next of kin: you. They didn’t know I hadn’t called her “Mum” in years.
The house was smaller than I remembered. The peeling blue door, the unkempt garden now, where she used to make me plant things. "You have to press roots into the soil like you mean it," she’d say. I never understood what that meant, but something inside me stirred now. Maybe that moment was now.
I pushed open the door, half-expecting it to creak, but it swung open quietly like it had been waiting for me. The smell of old paper and cinnamon greeted me, a scent I hadn’t realized I missed. Dust clung to forgotten furniture, and the air felt heavy with time, holding onto years of stories, things left unsaid.
VCE · Text Response
Text Response: i. To what extent do you agree that…
VCE Text Response essay scoring 75%: Sophocles’ Greek tragedy, ‘Oedipus the King’, written for the Dionysian festival of 429 BC, is a didactic…
Sophocles’ Greek tragedy, ‘Oedipus the King’, written for the Dionysian festival of 429 BC, is a didactic exploration of the paradoxical interplay between choice and pre-determined fate. Sophocles does not show a clear distinction between good and evil throughout the play rather exemplifies how individuals portray both good and bad characteristics throughout the play is constantly changing. This is made evident through individuals who are initially seen in a positive light yet varies later on including; the pantheon of gods, those who speak the truth and Oedipus who Is applauded for his devotion however this same devotion is what depicts him as evil. Sophocles exposes the that not one person is solely good or bad but a mixture highlighting the extent of human limitations.
Sophocles magnifies the continuum of good and evil that the gods display. This is made plausible through the chorus’ initial cries for help amidst the plague that symbolizes morale and spiritual corruption. “god of the headdress, gleaming gold, I cry to you”, emphasizing the need for the gods in times of hardship including the plague. This is symbolized through the reference to “gleaming”, emblematic of the motif of light which signifies the need for clarity and revelation to conquer this plague and overall amend the corruption that these individuals have caused. By making use of the cries to the gods relates to the Ancient Athenians socio-historically as they too exemplified immense deference to the gods in times of need particularly a similar situation when they had experienced a plague early into the Peloponnesian wars further evoking a degree of angst and understanding of what the chorus is suffering. Moreover, this same requirement for the gods in times of distress can be made clear through the stage direction “enters CREON… his face shaded with a wreath”. By referencing the “laurel wreath” demonstrates peity to Apollo, showcasing their looking to apollo in times of hardship. Additionally, this wreath is embedded with a variety of colours and berries which suggests a sense of hope recognized by the Ancient Athenian viewership. However the use of “shaded” introduces a subtle layer of deceit and ambiguity portrayed by the gods, foreshadowing the potential of something bad to come from the news provided by Creon “banish the man or pay back blood with blood”. Additionally, this introduction of deceit and evil amidst the divine power of the gods is accentuates through the use of the sphynx outside of aristotles unity of time, place and action upon Oedipus’ recount of how “[he] stopped the sphynx with no help from the birds”. The sphynx is a mythical creature associated with the guarding of sacred places of change, particularly where Oedipus is changed to fulfill the prophecy. By the sphynx allowing only Oedipus to solve the riddle this magnifies the capricious nature of the gods and the perfidy of fate. The use of the sphynx symbolizes incest seeing as it is a product of incest itself further foreshadowed, by her dangerous sexualized femaleness allowing the Ancient Athenians to recognize the initial corruption “overwhelmed by a black see of terror”. Sophocles demonstrates the omnipotent gods in a positive light initially, where he later exposes them as somewhat evil.
Not only do the gods show a mixture of good and evil but so does Oedipus through his determination. Initially, Oedipus’ determination to uncover the truth “I would be blind to misery not to pity the people kneeling before my feet”, showcasing through the use of dramatic irony Oedipus’ intentions being pure whilst simultaneously foreshadowing Oedipus’ conviction becoming the “man of misery” and no longer being able to see physically “see no more”. This
VCE · Text Response
Text Response: i. To what extent do you agree that…
VCE Text Response essay scoring 60%: Sophocles’ Greek tragedy, ‘Oedipus the King’, written for the Dionysian festival of 429 BC, is a didactic…
Sophocles’ Greek tragedy, ‘Oedipus the King’, written for the Dionysian festival of 429 BC, is a didactic exploration of the paradoxical interplay between choice and pre-determined fate. Sophocles does not show a clear distinction between good and evil throughout the play rather exemplifies how individuals portray both good and bad characteristics throughout the play is constantly changing. This is made evident through individuals who are initially seen in a positive light yet varies later on including; the pantheon of gods, those who speak the truth and Oedipus who Is applauded for his devotion however this same devotion is what depicts him as evil. Sophocles exposes the that not one person is solely good or bad but a mixture highlighting the extent of human limitations.
Sophocles magnifies the continuum of good and evil that the gods display. This is made plausible through the chorus’ initial cries for help amidst the plague that symbolizes morale and spiritual corruption. “god of the headdress, gleaming gold, I cry to you”, emphasizing the need for the gods in times of hardship including the plague. This is symbolized through the reference to “gleaming”, emblematic of the motif of light which signifies the need for clarity and revelation to conquer this plague and overall amend the corruption that these individuals have caused. By making use of the cries to the gods relates to the Ancient Athenians socio-historically as they too exemplified immense deference to the gods in times of need particularly a similar situation when they had experienced a plague early into the Peloponnesian wars further evoking a degree of angst and understanding of what the chorus is suffering. Moreover, this same requirement for the gods in times of distress can be made clear through the stage direction “enters CREON… his face shaded with a wreath”. By referencing the “laurel wreath” demonstrates peity to Apollo, showcasing their looking to apollo in times of hardship. Additionally, this wreath is embedded with a variety of colours and berries which suggests a sense of hope recognized by the Ancient Athenian viewership. However the use of “shaded” introduces a subtle layer of deceit and ambiguity portrayed by the gods, foreshadowing the potential of something bad to come from the news provided by Creon “banish the man or pay back blood with blood”. Additionally, this introduction of deceit and evil amidst the divine power of the gods is accentuates through the use of the sphynx outside of aristotles unity of time, place and action upon Oedipus’ recount of how “[he] stopped the sphynx with no help from the birds”. The sphynx is a mythical creature associated with the guarding of sacred places of change, particularly where Oedipus is changed to fulfill the prophecy. By the sphynx allowing only Oedipus to solve the riddle this magnifies the capricious nature of the gods and the perfidy of fate. The use of the sphynx symbolizes incest seeing as it is a product of incest itself further foreshadowed, by her dangerous sexualized femaleness allowing the Ancient Athenians to recognize the initial corruption “overwhelmed by a black see of terror”. Sophocles demonstrates the omnipotent gods in a positive light initially, where he later exposes them as somewhat evil.
Not only do the gods show a mixture of good and evil but so does Oedipus through his determination. Initially, Oedipus’ determination to uncover the truth “I would be blind to misery not to pity the people kneeling before my feet”, showcasing through the use of dramatic irony Oedipus’ intentions being pure whilst simultaneously foreshadowing Oedipus’ conviction becoming the “man of misery” and no longer being able to see physically “see no more”. This
VCE · Text Response
Text Response: In what ways does Johnson undermine the…
VCE Text Response essay scoring 70%: Amidst the wilderness of the early 20th century Arnhem Land, Northern Territory, Stephen Maxwell Johnson’s…
Amidst the wilderness of the early 20th century Arnhem Land, Northern Territory, Stephen Maxwell Johnson’s revisionist Western film High Ground explores distinctive notions of power upheld by the land’s residents. Through his film, Johnson subverts British settlers’ precarious, Eurocentric illusion of power, while championing the Yolngu clan’s harmony with mother nature as the authentic form of displaying community’s strength. Nevertheless, Johnson warns both groups of immeasurable consequences when resorting to brutality to assert dominance, as he asserts that achieving power through restraint and reconciliation is more effective. In essence, Johnson juxtaposes colonists’ invasive attempts at seizing control with Indigenous people’s enduring cultural resilience to encourage premeditated, respectful approaches to showcasing power.
To begin with, Johnson exposes how colonialists’ power is built upon presumed superiority and racial supremacy, which is downplayed as a brittle and delusional foundation rather than a genuine virtue. He achieves this through his adoption of photography motif, as twice in the film, settlers’ cameras are used to capture important events. When Moran prepares to take a photograph of Travis alongside Aboriginal men and a crocodile, he claims that they are the ones who “make history”, hence it is their “responsibility” to capture such a moment. Yet the inverted image when seen through the viewfinder, operated by a Westerner, is emblematic of colonialism’s distorted and self-centred perspective of history. This represents Johnson’s scathing indictment of how the 1920s British colonists’ assumed strength and righteousness are often biased and precarious. Such an indictment is further consolidated through the film title “High Ground”, which is itself a recurring symbol of superiority and authority. However, despite Travis occupying the proverbial high ground, overlooking Baywara and Gutjuk arguing in the later half of the film, he misunderstands Baywara’s “explaining” and mistakenly kills him to protect Gutjuk. This is exacerbated by the low angle shot of Baywara from Gutjuk’s point of view prior to being shot. Having been under Travis’ tutelage, Gutjuk’s western beliefs about “control” are undermined by this low angle shot and further amplified by Baywara’s question — “you think you know everything?”. Baywara’s question is further representative of Johnson’s decry about settlers’ notion regarding power and white supremacy, which is portrayed by Johnson as inauthentic and discriminating concepts. With this, Johnson encourages his viewership to question the validity of racial prejudice and Eurocentric hierachies of power, positioning them to understand that assumed authority does not equate to genuine justness nor influence on others.
VCE · Creative Response
Creative Response: Personal Journeys
VCE Creative Response essay scoring 85%: Context: SBS Writing Competition, with the theme “Embracing Change and the Ongoing Journey of…
Context: SBS Writing Competition, with the theme “Embracing Change and the Ongoing Journey of Self-Transformation”
The stage is empty - one actor, one story. Maybe they’re sipping tea on the moon, or training chickens for a circus act. Then, without warning, a shout slices through the air: “Space jump!” Suddenly, everything fractures. A new actor storms in. The story pivots sharply, and the old world vanishes. No rehearsal. No script. Only raw, fearless improvisation - and a new story begins.
That was Space Jump: ridiculous, unpredictable, and merciless. I first met it in Year 9 Drama - and I hated it. It was loud and chaotic, where I preferred quiet certainty, neatness, and being good at things. And I was far from good at this game. My palms were sweating, my mind blank, and before I knew it, I was blurting out Spiderman: No Way Home spoilers like I’d memorised the entire script. Purged with embarrassment, my silence echoed through the hall - every eye on me, every heartbeat thundering in my ears - until laughter replaced it, not from me, but from my class. Then through exposure therapy (also known as Drama class three times a week), I started to overthink less and live more in the moment. I didn’t just fall in love with the game - I fell in love with what it revealed about myself. Space Jump wasn’t just about acting; it was about embracing the unknown. It taught me to think on my feet, to let go of perfection, and to trust the leap even when I couldn’t see where I’d land - to find courage in chaos.
That instinct — to leap before you’re ready — became something I carried with me. Later that year, mid-bite of a ham and cheese sandwich, my English teacher approached me: could I fill in for a senior house debate? I said yes immediately. Not because I was confident or qualified — but because now I had learned not to say no. Moments later, I stood before a room of older students, delivering an impromptu speech on why women deserve equal pay in sport. I stumbled. I fumbled. I spoke for too long and said far too little. And we lost — badly.
But something unexpected happened. I didn’t walk away defeated. I walked away curious. That awkward, undeniably human moment sparked a longing to find strength in my own voice. Watching the Year 10s speak with conviction made me realise that growth begins with the willingness to leap — and so I leapt again, joining the debating team.
VCE · Text Response
Text Response: 'Oedipus the King reveals how finding out…
VCE Text Response essay scoring 70%: "Oedipus the King reveals finding out the truth about the past may be as dangerous as ignoring it. To what extent…
"Oedipus the King reveals finding out the truth about the past may be as dangerous as ignoring it. To what extent do you agree?"
Sophocles' Oedipus the King examines humanity's flawed pursuit of truth within a world governed by divine authority. Composed during Athen's Golden Age of intellectual confidence, the tragedy exposes the peril of human reason when corrupted by ignorance and hubris. Sophocles unveils how the search for truth, though noble in intent, becomes destructive when shaped by human imperfection. Yet, in a time where truth remains under divine control, defiance of its sacred order brings inevitable punishment and disorder to both the self and the state. Ultimately, the play suggests that redemption is found not through denial but through courageous acceptance of the truth's consequences, showing that enlightenment, though born from suffering, restores balance to the moral and natural order.
Sophocles unveils how pursuing the truth is given its dangerous nature when at the hands of human imperfection, fueled particularly by ignorance and hubris. Creon, as a direct foil character to Oedipus, illuminates Oedipus' irrationality and hubris as a leader. Creon remains rational and measured, resisting Oedipus' impulsive actions, who does not "see things as calmly and rationally" as Creon does. Creon's calm composure contrasts Oedipus' erratic search for truth, demonstrating how reasoned judgement preserves civic order while Oedipus' hubristic insistence on absolute knowledge destabilises it. By positioning Creon as the foil character, Sophocles reveals how the pursuit of truth, governed by pride and paranoia, becomes a destructive force rather than a moral one, deepening the suffering of the polis already ravaged by plague. In the same vein, Oedipus' relentless pursuit of truth exposes how his hubris transforms a moral duty into civil destruction. In Oedipus' declaration that he "must bring what is dark to light," his motives initially echo noble leadership. Yet, the compulsion to
His determination to uncover the truth rather than reason becomes an act of justice. He interrogates witnesses and his blindness deepens, his determination to expose and perpetrate the very tyranny over Creon and order. In contrast to Creon's volatility, having seeking truth, individuals and the polis. The masterpiece of dramatic irony, his outburst toward Tiresias as stone links his intellect to his belief that it outranks divine might, in mocking divine might. His refusal to making a symbolic act of rebellion that attempts to challenge chaos and self destruction.
VCE · Creative Response
Creative Response: We can choose our departure poitns but…
VCE Creative Response essay scoring 80%: Dear umma*mother Stepping through the gates of Incheon Airport, toddler pressed to your chest and a one-way…
Dear umma*mother
Stepping through the gates of Incheon Airport, toddler pressed to your chest and a one-way ticket to a land you had never seen, I wondered if you knew that you were not just beginning your journey, but mine. That first step — uncertain, brave, irrevocable — was yours, but it cast a long shadow in which I have spent my life walking.
Lao Tzu tells us that a journey of a thousand miles begins with a single step. But he forgets to mention that sometimes, the journey is unknown, that we will never truly know where we will step next
I arrived in Australia too young to remember, too young to resist. Yet, from the moment I entered the classrooms of this new world, I was already outcast. My name, foreign and mispronounced, became a burden I carried like a stone in my mouth. The scent of kimchi from my lunchbox surrounded by the wall of cold rice and left over meat, once a comfort of home, became a source of ridicule and shame. With kids bombarding me with strange questions & sneering squinty stares, I soon learned early on that visibility came at a cost — and so I shrank, piece by piece, into something constrained.
VCE · Text Response
Text Response: "i became a chameleon. my colour didn't…
VCE Text Response essay scoring 75%: framed by the repressive backdrop of apartheid era South Africa, Trevor Noah's memoir, Born a Crime delves into the…
framed by the repressive backdrop of apartheid era South Africa, Trevor Noah's memoir, Born a Crime delves into the intricacies of growing up during such a challenging time, and how Noah navigated his way through tough situations, by adapting. Throughout Born a Crime, Trevor builds on the theme of adaptation through language and education, identity and belonging, as well as the difficulties that apartheid brought in trying to change. the memoir emphasises how language and education are tools to empowerment and independence, taught to Noah by his mother Similarly, Trevor has to adapt to suit his environment , illustrating how he sometimes had to put on a facade to fit in. However, the racial discrimination under apartheid made it difficult for characters to blossom.
Trevor Noah celebrates language and education as a powerful tool for connection and survival. Throughout the memoir, language is used as a tool for Trevor to navigate his way though life, using his knowledge on languages, taught by to him by his mother Patricia, as an advantage. When Noah is put in challenging situations, he is able to adapt in order to overcome them, such of when he is thrown into jail. Instead of giving up and accepting defeat, Trevor utilises his strengths by becoming friends with the man in prison whom everyone was afraid of. He realises that "If you talk to a man in a language he understands, that goes to his head. If you talk to him in his language, that goes to his heart." the symbolism of language is a tool reiterates how Noah is able to adopt to different social settings through language. Patricia, Noah's mother, teaches trevor this crucial life skill to help him navigate his challenges as a coloured boy. His profound sense of adaptation is passed on from his mum who "used language to cross boundaries, handle situations, navagate the wold." The textual feature of code switching by Trevor and Patricia emphasises adaptability and humanises story by conveying a sense of realism, which enables readers to feel closer to complex social dynamics. Furthermore, Trevor learns "that the quickest way to bridge the race gap was through language, " the metaphor of bridge" carries Symbolic weight representing a link between different racial groups with language as a connecting force. Through Noah's experiences of growing up os a mixed boy in south Africa, readers understand the strength Trevor inherits from his mother, and how this crucial tool of language and education enables him to adopt to different environments.
VCE · Creative Response
Creative Response: Resist and Persist Frederick Douglass…
VCE Creative Response essay scoring 77.5%: Resist and Persist Frederick Douglass – “The thing worse than rebellion is the thing that causes rebellion.”…
Resist and Persist
Frederick Douglass – “The thing worse than rebellion is the thing that causes rebellion.”
Good afternoon fellow students and staff,
Frederick Douglass once declared, “The thing worse than rebellion is the thing that causes rebellion.” In our city, this is hostile architecture. Have you ever walked through Melbourne and felt unwelcome without knowing why? Chances are, you’ve encountered these designs causing harsh protests in the city. Hostile architecture is an urban strategy that uses the built environment to control and restrict human behaviour. It often targets those who rely most on public spaces — youth, the poor, and the homeless — by limiting their ability to rest or even gather. This is not merely about the removal of comfort, but the quiet removal of dignity — the suggestion that some bodies are less deserving of rest, of belonging, of being seen. These protests are not disorder; they are design in reverse — citizens reshaping what their leaders have neglected. I strongly believe hostile architecture is damaging Melbourne, both for its people and for its identity, because it strips away the humanity of our city and silences our collective voice. The rebellion we see is not chaos, but conscience — the city’s pulse resisting the numbing hand of control. In dehumanising others, we reveal the brittleness of our own compassion, the unspoken value that convenience outweighs care.
VCE · Text Response
Text Response: “I made her a star. I cannot let her be…
VCE Text Response essay scoring 90%: Billy Wilder’s noir melodrama Sunset Boulevard serves as both a satire, with its unrelenting mockery of Hollywood’s…
Billy Wilder’s noir melodrama Sunset Boulevard serves as both a satire, with its unrelenting mockery of Hollywood’s vanity, and a dark tragedy exposing the human cost of fame. Set against the ruthless landscape of post-war Los Angeles, the film critiques Hollywood’s exploitation of its stars and their complicity in their own downfall. Through the decaying figure of Norma Desmond and the predatory systems that sustain her delusion, Wilder exposes how the pursuit of stardom transforms people into their own captors.
Wilder portrays celebrities to be the architects of their own isolated and obscure lifestyle as they relentlessly pursue fame. Former silent film star Norma Desmond’s decline is symbolised through the setting of her “neglected house.” When Joe first arrives, Wilder’s panning shot reveals the mansion’s crumbling exterior, where dying palm trees and faded walls visually echo Norma’s fading fame and isolation from the modern world. This decay symbolises how the obsessive pursuit of stardom can trap individuals in self-imposed confinement, unable to face a reality that has moved beyond them. Norma's house interior mirrors its outer decay, a space "so crowded with Norma Desmonds." Wilder uses the abundance of self-portraits throughout her living room to reveal how narcissistic fixation imprisons celebrities within an illusion of eternal fame, frozen in an unchanging reality where they are perpetually in the spotlight. Similarly, Norma's companions, the "wax works," are fellow discarded silent film stars. By describing them as "wax," Wilder portrays them as frozen relics, lifeless remnants of a forgotten era. Wilder critiques how celebrities cling to fame's dehumanizing effects, revealing how these formerly celebrated figures have become static monuments trapped in nostalgic deterioration, unable to adapt or accept new identities.The scene speaks to the broader obsession with fame and the lengths people go to in order to remain relevant, resonating in today's social media-driven culture where influencers and celebrities often struggle to maintain public attention.Utimately, Wilder reveals how years of isolated obsessive vanity is what leads to celebrities’ destruction. Joe describes Norma as "Miss Havisham in her rotting wedding dress," a figure "taking it out on the world because she'd been given the go-by." This intertextual reference to foreshadows Norma's corrosive isolation, born from abandonment by the industry, her admirers, and finally Joe. Throught this, Wilder indicts celebrities for grounding their worth in others' validation rather than authentic self-acceptance, illustrating how such dependence guarantees their inevitable self-destruction.Wilder, thus, makes it apparent that stars are the masterminds of their own downfall as they refuse to move on from the past.
VCE · Text Response
Text Response: "High Ground explores the tension between…
VCE Text Response essay scoring 77.5%: Set in a post World-War 1 Australian society, Stephen Maxwell Johnson’s revisionist western High Ground tells the…
Set in a post World-War 1 Australian society, Stephen Maxwell Johnson’s revisionist western High Ground tells the story of a post-colonisation Australia recounting its violent past. Johnson explores the relationship between justice and revenge through suggesting that at the absence of justice for Australia’s Aboriginal people leads to the desire of revenge. Johnson also implies the line between justice and revenge can often be unclear, while condemning the latter.
VCE · Creative Response
Creative Response: ttile - the truth stimulus - Having a…
VCE Creative Response essay scoring 82.5%: HELP ME! HELP ME! A cry for help can break out like a dam – raw, urgent and impossible to ignore. Yet at…
HELP ME! HELP ME! A cry for help can break out like a dam – raw, urgent and impossible to ignore. Yet at times help never comes. Many who suffer remain silent, paralysed not by weakness but by the weight of fear, shame and despair. The truth is that silence is not always chosen; sometimes it is forced upon us by a world that refuses to listen. Though I was not among those silenced, I have stood close enough to see how injustice renders speech almost impossible – how the cracks in that dam of silence begin to tremble before truth finally breaks through. And when it does, it comes not as destruction, but as release — a flood of courage that reshapes everything in its path. It begins with a lone voice, trembling but unyielding, and grows into a chorus that no force can contain.
As I speak before you sociologists – experts in the forces that bind us as a society – I do so not to recount my own oppression, but to reflect on a truth that I have witnessed in others: that one voice, brave enough to rise, can awaken many others; that protest transforms not only societies, but souls.
I grew up alongside a boy named Elijah — a quiet soul with eyes the colour of storm clouds and a voice so soft it seemed afraid of echoing. Every morning he would slip into the back of the classroom, his shoulders drawn inward as though trying to make himself invisible. The fluorescent lights flickered above us, washing the chipped desks and tired posters in a harsh, sterile glow. The teacher’s voice — sharp, impatient — would slice through the stillness: “Anyone? No one?” Around us, laughter scattered like pebbles against glass, but Elijah’s silence was heavier than any noise. Sometimes, he would lift his hand — hesitant, trembling — only to be met with the rustle of snickers or the teacher’s sigh of dismissal. I remember the faint flush that rose to his cheeks, the way his fingers would curl back into his sleeve as though retreating from the world. He once told me that the worst part wasn’t the laughter, but the way people looked through him — as though he were made of air. The walk home was always quiet; the crunch of gravel beneath our shoes filled the space where words should have been. When I asked why he didn’t fight back, he said softly, “What’s the point of shouting when no one wants to listen?”
Yet slowly, the cracks began to show in that wall of silence. Through small acts of courage, Elijah began to resist — lifting his head a little higher, meeting the gaze of those who mocked him, answering questions with a steady voice. These may appear to be minor gestures, but to him they were transformative. When Elijah raised his hand, voice quivering but steady, and the teacher finally
VCE · Creative Response
Creative Response: Title - The truth Stimulus - Having a…
VCE Creative Response essay scoring 70%: HELP ME! HELP ME! A cry for help can break out like a dam – raw, urgent and impossible to ignore. Yet at times…
HELP ME! HELP ME! A cry for help can break out like a dam – raw, urgent and impossible to ignore. Yet at times help never comes. Many who suffer remain silent, paralysed not by weakness but by the weight of fear, shame and despair. The truth is that silence is not always chosen; sometimes it is forced upon us by a world that refuses to listen. Though I was not among those silenced, I have stood close enough to see how injustice renders speech almost impossible – how the cracks in that dam of silence begin to tremble before truth finally breaks through. And when it does, it comes not as destruction, but as release — a flood of courage that reshapes everything in its path. It begins with a lone voice, trembling but unyielding, and grows into a chorus that no force can contain.
As I speak before you sociologists – experts in the forces that bind us as a society – I do so not to recount my own oppression, but to reflect on a truth that I have witnessed in others: that one voice, brave enough to rise, can awaken many others; that protest transforms not only societies, but souls.
I grew up alongside a boy named Elijah — a quiet soul with eyes the colour of storm clouds and a voice so soft it seemed afraid of echoing. Every morning he would slip into the back of the classroom, his shoulders drawn inward as though trying to make himself invisible. The fluorescent lights flickered above us, washing the chipped desks and tired posters in a harsh, sterile glow. The teacher’s voice — sharp, impatient — would slice through the stillness: “Anyone? No one?” Around us, laughter scattered like pebbles against glass, but Elijah’s silence was heavier than any noise. Sometimes, he would lift his hand — hesitant, trembling — only to be met with the rustle of snickers or the teacher’s sigh of dismissal. I remember the faint flush that rose to his cheeks, the way his fingers would curl back into his sleeve as though retreating from the world. He once told me that the worst part wasn’t the laughter, but the way people looked through him — as though he were made of air. The walk home was always quiet; the crunch of gravel beneath our shoes filled the space where words should have been. When I asked why he didn’t fight back, he said softly, “What’s the point of shouting when no one wants to listen?”
Yet slowly, the cracks began to show in that wall of silence. Through small acts of courage, Elijah began to resist — lifting his head a little higher, meeting the gaze of those who mocked him, answering questions with a steady voice. These may appear to be minor gestures, but to him they were
VCE · Creative Response
Creative Response: Title: let the journey begin stimulus…
VCE Creative Response essay scoring 77.5%: As the girl sat alone waiting at the imperfect and empty dinner table, she pondered how she will describe her…
As the girl sat alone waiting at the imperfect and empty dinner table, she pondered how she will describe her final journey of high school. After graduating she didn’t want to think about her final year as it brought back nostalgia, however feelings of disappoint and failure. A tear slowly rolled down the cold press of her cheek any time high school was mentioned as although she recalled the sweet moments, the sourness unfortunately took up most of her journey. The atmosphere was silent and bare as no flavour has been introduced to the table and the tone remained warm however uncertain and mysterious likes its going to gradually change. The girl saw from a distance a couple of individuals walking to the table, which had prepared her to share her stories of managing her exhilarating yet painful journey of year 12.
First course - the bitter beginning
As she invites the guests to sit down, the first dish arrived - it was cold, sharp and hard to swallow which represented the early life challenges and issues as a year 12. Transitioning from year 11 to year 12 was a major step, she felt an abundance of emotions. fear of the unknown or expectations that must be met. Its the first encounter of adversity - she had the taste of failure for the first time later not knowing that it will eventually fuel some growth. Each bite she explained carried the taste of rejection and after taste of disappointment. She thought she could handle the workload of the demands however her thoughts ran the opposite direction. She was struggling. The texture was rough and grainy resembling the hundreds of pages of textbook she would be carrying home each night to study. It was sour like the sting of red pen marks bleeding across the page of her work. Every fail and every resit made her want to spit out this acidic and awful taste.
She felt like she couldn’t complete it and wanted to give up. However her teachers would not let her, it’s the same thoughts and journey every year 11 transitioning into year 12 go through, that in those early months of year 12 the bitterness would never fade and the struggles would define her. Yet this dish laid the raw truth that its through the harshness where she must learn change and adapt until she can begin to feel flavour or growth.
Second course - the spicy struggle
VCE · Creative Response
Creative Response: Title - The truth Stimulus - Having a…
VCE Creative Response essay scoring 70%: HELP ME! HELP ME! A cry for help can break out like a dam – raw, urgent and impossible to ignore. Yet at times…
HELP ME! HELP ME! A cry for help can break out like a dam – raw, urgent and impossible to ignore. Yet at times help never comes. Many who suffer remain silent, paralysed not by weakness but by the weight of fear, shame and despair. The truth is that silence is not always chosen; sometimes it is forced upon us by a world that refuses to listen. Though I was not among those silenced, I have stood close enough to see how injustice renders speech almost impossible - how the cracks in that dam of silence begin to tremble before truth finally breaks through. And when it does, it comes not as destruction, but as release — a flood of courage that reshapes everything in its path.
As I speak before you sociologists – experts in the forces that bind us as a society – I do so not to recount on my own oppression, but to reflect on a truth that I have witnessed in others, that protest transforms not only societies, but souls.
VCE · Text Response
Text Response: "We are so happy". Shirley Jackson's "We…
VCE Text Response essay scoring 62.5%: Shirley Jackson's We Have Always Lived in the Castle draws readers into a world where is nothing as it seems.…
Shirley Jackson's We Have Always Lived in the Castle draws readers into a world where is nothing as it seems. Ambiguity, secrecy, and the clash between public perception and private reality pulse at the heart of the novella, echoing the anxieties of 1950s society. Filtered through the idiosyncratic and unreliable narration of Mary Katherine Blackwood, the text presents the insularity of the Blackwood world. Jackson's gothic tale reveals how alienation and the cyclical nature of persecution become weapons of social exclusion, leading to detachment, blurring the lines between fantasy and reality. Through the exhaustion of ideas, Jackson suggests that liberation may come at a cost, but freedom of the soul will ultimately conquer the barriers imposed by society.
Jackson shapes the psychological landscape of seclusion as it functions simultaneously as a sanctuary and a prison. The Blackwood house serves as both safety and confinement, particularly as a fortress "cut off from the rest of the town", but also as a site of psychological stagnation. Through Mary Katherine (Merricat)'s eyes, the house is a "castle", Jackson uses this as a motif to conjure images of fairy-tale protection, however, the defensive architecture of the house is marked by "walls" and "locked doors", mirroring the sisters' emotional barricades. Jackson's use of spatial ambiguity reflects the binary nature of seclusion. The sisters' routines and rituals of cleaning and preparations within the house reinforce this sense of sanctuary, providing comfort and a sense of control. The impact of the fire comes at no cost to this refuge, as it results in the sister's becoming more at peace as they "are so happy" to finally be rid of exterior disturbances from the tormenting villagers. Their twisted fairy-tale ending is posed by Jackson to present the idea that happiness can be found in unorthodox situations, implying that it is the mind that acts as a true blockade to the road of liberation.
VCE · Text Response
Text Response: “Johnson’s High Ground is a story about…
VCE Text Response essay scoring 75%: The truth behind Australia’s colonisation has been uncertain and manipulated until recent years. Stephen Maxwell…
The truth behind Australia’s colonisation has been uncertain and manipulated until recent years. Stephen Maxwell Johnson’s 2020 film High Ground sheds light on the truth of Australia’s colonisation after centuries of uncertainty. Johnson crafts each character with their own sense of honesty and truth, displaying societal views towards the numbers of massacres and dark acts committed during colonisaton. Johnson represents honesty as a burden to some, a choice between morality and convenience, while also presenting the truth as a way of life for others, an uncompromisable principle. On the other hand, Johnson portrays the manipulation of the truth as a tool to rewrite history for those who benefit from it, all in an attempt to reveal Australia’s unsettling but true history.
Johnson conveys honesty as a struggle for many, in a time where the frontier massacres were almost normalised, several characters grapple with what they believe to be true, versus what they believe is right. Travis exemplifies this, in the very first few scenes of the film the audience is put into his perspective through the point of view shot of the rifle lens, shortly combined with several close ups of his face as he watches in horror of the massacre occurring. The use of the camera techniques characterises Travis as empathetic, illustrating his awareness of how morally unjust the situation is. However back at the outpost when Claire interrogates Travis of what happened, he remains silent, another close up of Travis’ face is used, emphasising his struggle with his conscience, as his feelings of guilt prevail over his sense of honesty. Johnson purposefully uses these angles to portray the characters’ angst, highlighting the importance of honesty, and the consequences in not doing so.
VCE · Creative Response
Creative Response: Finding my way.
VCE Creative Response essay scoring 90%: Though I was born in Australia, my childhood truly unfolded in China. Not just in geography, but in identity.…
Though I was born in Australia, my childhood truly unfolded in China. Not just in geography, but in identity.
When I was little, the nights in Shenzhen pulsed with life. The streets shimmered gold beneath flickering shop lights, the air thick with the smell of frying oil and sugar, and laughter rising from the food stalls that lined the road. The corner store owner always saved White Rabbit candy for me and my sister. My mother owned a small hair salon right in the middle of that street. While she worked under the hum of dryers and the rhythmic snip of scissors, I ran in my sandals along the narrow pavement, chasing after other children whose parents also owned shops nearby, a tool store, a chemist, a dumpling stall. It didn’t matter where we played, every doorway felt like home. I never questioned this sense of belonging; it was the water I swam in, invisible because it held me completely.
The salon was always bright. Customers came not just for haircuts, but for company. They shared stories and secrets as if they were all part of one extended family. The smell of hairspray mixed with jasmine tea. On summer nights, after closing, the adults gathered around a plastic table for mahjong, their laughter spilling into the street, sunflower shells scattering beneath their feet. Sometimes my mother let me stay up late, the air conditioner rattling in the corner while I watched her play. Those nights seemed endless, as if the world existed only within that warm, humming street.
Every Sunday, we hiked the mountain behind our apartment complex. The path wound through green trees slick with mist, the scent of rain hanging heavy. I still remember the day I got lost, how I wandered too far ahead and turned to find no one behind me. The air thickened, the world grew quiet, and fear pressed against my chest. Tears blurred the path while I stood frozen for minutes before a couple of tourists found me and waited until my mother appeared, breathless and furious and relieved. That night, she made me memorise her phone number. Not just so I could be found, but so I could learn that identity is tethered not only to place, but to the people who anchor you to yourself.
Then, everything changed.
We moved to Australia.
The night we arrived, I pressed my face against the car window, expecting to see lights, crowds, movement. But instead, the streets were still. Houses stood far apart, each one sealed behind drawn curtains. No one called out, no radios played. The silence was not just lack of sound. It was lack of recognition. It made me aware of my own edges, as if I had become visible only in the ways I didn’t fit.