VCE · Text Response
Text Response: all characters in sunset boulevard allow…
VCE Text Response essay scoring 67.5%: individuals from reality. Max undeniable love and devotion towards Norma is intertwined with his past and…
individuals from reality. Max undeniable love and devotion towards Norma is intertwined with his past and adoration as Norma was his creation "I discovered her when she was eighteen" and made her a 'star' which he cannot let to be 'destroyed' endorses her illusionary beliefs that she is a still in demand star. In hollywood her career was faded and when her role was unable to experience the loss as Max constantly deceives her to maintain her happiness. Norma went to Paramount studios and receiving warmly welcome from father like figure Cecil. B. DeMille, studio lights bathe her in nostalgic warmth. Her salome script "Yeah... It has a good things in it" being pleased by him "if its possible" Demille stating if there is possibility to work with Norma giving gentle compliment and even reassurance. His sadness framed in soft lighting and sustains her (Norma) fantasy of a grand comeback. DeMille unintentionally feeds her delusion proving her protective relationships can entrap. In the climatic shot where Norma bandaged and take center stage while Joe is seen blurred in the background, Wilder illustrates the power dynamics in their relationship. Norma injures proof of her 'suicide' attempt while he considers sympathy, his choice to come back, despite the risks, indicates a comeback giving up of his own control by going back into motion to embrace the role of Norma's lover and closely friend. This visual arrangement emphasize her love and dependance into a trap Wilder portraying relationship in Sunset Boulevard less as a source of support and more as a prison of obligation to show the impact of hollywood's life and their relationships.
Hollywood is all about fame, beauty and power whoever pursue it only as a career remains distance from entrapment. While betty walks around the studio lot with Joe he says "Look at this street. All cardboard, all hollow, all phony. All done with mirrors..." "I like it better than my street". She acknowledges the artifice of the hollywood industry and understands how it pressures individuals to change themselves, however she embrace it as she pursues a career in the industry. Wilder uses natural and soft lighting for betty to highlight her transparency in hollywood's world of toxic glamour. In the scene where betty works in the paramount studio or meet joe, in the aisle is lit with a clean, natural glow rather than the heavy dark shadows and a high chiaroscuro just like for Norma. This realistic lighting reveal betty living in the moment far away from the deluded angry world of hollywood. Sheldrake the producer in hollywood industry rejects Joe "Baseball picture" as he listen briefly and dismisses it with
VCE · Text Response
Text Response: Sunset Boulevard demonstrates how easy it…
VCE Text Response essay scoring 80%: Billy Wilder’s film, a satiric rendering of Hollywood, Sunset Boulevard portrays the faltering movie business as a…
Billy Wilder’s film, a satiric rendering of Hollywood, Sunset Boulevard portrays the faltering movie business as a time where “forgotten star[s]” struggle to maintain their relevance, illusions of grandeur replace reality, and desperation leads to manipulation and exploitation. The manipulation that unfolds behind Hollywood’s elusive façade highlights the coercive power individuals wield over others for self-preservation; however, in doing so, they unwittingly fall prey to manipulation themselves. Notably, Wilder depicts Hollywood as an industry that has fostered a system where individuals must utilise deception and exploitation to manipulate others in order to secure their status or to survive. Additionally, Wilder has considered Hollywood’s culture as a perpetuated cycle where the manipulator is oblivious to the deception they are being exposed to. Yet, the relentless pursuit of self-preservation that Wilder has illustrated in Hollywood often drives individuals to manipulate others, yet this struggle for control ultimately comes at a profound cost.
Wilder portrays Hollywood as a cutthroat industry where individuals are driven to deceive and exploit others as a means of securing their status or merely surviving. Norma Desmond, a former silent movie star, embodies ruthless self-preservation on screen as she clings to her fading fame by deceiving and exploiting those around her. When Norma meets Joe Gillis, a struggling screenwriter, Joe recognises Norma as a silent movie star who “used to be big”, in which Norma demands that “[she] is big, it’s the pictures that got small”. Norma sees this as an opportunity to lure Joe, through providing him financial stability, to exploit him into believing that she is the same as “her celluloid self” and that how she is perceived in the outside world is wrong. The manipulation that Norma conveys on Joe, highlights the consequences of being a young star in Hollywood, as Norma denies reality and yearns to keep her status where “[she’s] a star” alive. This practice of exploitation and manipulation that has been created by Hollywood’s harsh industry is also seen through the need for others to manipulate in order to survive. Joe, a struggling screenwriter drowning in debt, “[comes] up with a plot of [his] own”, indulging in Norma’s delusions in exchange for the financial compensation that his job as a never brought him. Joe justifies his financial exploitation of Norma insisting that “all [he] wanted was a job”, when Joe knew that by accepting Norma’s offer, he could manipulate her into believing that “[he is] pretty expensive” because he knew that she would pay anything to be on the big screen again. Wilder demonstrates the ruthless tactics less fortunate individuals who experience financial hardship forced upon by Hollywood will exploit and deceive in order to survive. Wilder reveals through the pattern of deceit and exploitation how Hollywood’s relentless pursuit of success forces individuals into corrupt situations to maintain their stature and sustenance.
Wilder depicts Hollywood's culture as a relentless cycle in which individuals seen as manipulative are merely acting out to the exploitation they themselves endure. Max Von Mayerling, once a respected film director, now serves as Norma Desmond's butler who is devoted to not "let[ting] her be destroyed" as he "made her a star". With the introduction to the talkies in Hollywood, Norma's career as an actress comes to a forced end, with Max ending his career out of guilt and loyalty. This guilt urges Max to continue to play the role as Norma's director, ensuring that Norma believes she is still a beloved star by shielding her from reality. Wilder conveys Max as Norma's director through mise-en-scene, intently placing Max a few feet away from Norma - out of the frame, just as a director would stand a few feet away when directing a film. Max's deception has successfully led Norma to believe that she is still a star of Hollywood, receiving "fan
VCE · Text Response
Text Response: In Sunset Boulevard, the characters are…
VCE Text Response essay scoring 77.5%: In Sunset Boulevard, Wilder highlights the performative nature of the Hollywood industry to warn against the…
In Sunset Boulevard, Wilder highlights the performative nature of the Hollywood industry to warn against the compromise and loss of identity required to be successful. Wilder vehemently implicated this through indicating the yearn for fame and success in characters, willing to do whatever it takes to be seen by Hollywood, the moral degradation as a result of wanting to be accepted by the Hollywood star factory. Additionally, the effect of always performing and the idea of true identity and individualistic values of characters being taken over. Therefore, the tragic ideals of characters in Hollywood being made to ‘always perform’ lead to Sunset Boulevards overall destruction of character’s moral integrity and lives.
VCE · Creative Response
Creative Response: Framework: Writing about personal…
VCE Creative Response essay scoring 75%: Stimuli : 1 and 2 I had always been a “lost” child. I didn't know what I wanted to do, where I wanted to go,…
Stimuli : 1 and 2
I had always been a “lost” child. I didn't know what I wanted to do, where I wanted to go, what my goals were or any sense of “self”. I had always struggled finding my way, both literally and figuratively. My parents had a strained relationship, and eventually divorced while I was just 5 years old. The divorce led to many unfortunate consequences aside from just our family being split apart. My mom had got custody of me, yet, she wasn't my mother. It felt as if the loving, warm and affectionate mother I had always been with had vanished. Instead, I was faced with a cold, busy and spiteful one. My father had gone from what most would describe as a bundle of joy, to someone that radiated seemingly negative energy. My brother? I hadn't seen him ever since my 7th birthday. He left and never returned.
The result of this was an introverted, “weird” and temperamental me. I was the child all mothers would use as a bad example; “If you don't listen to me you’ll turn out like him”. The guy everyone avoided like the plague. The one that sat alone at lunch. The one that everyone looked at with pity. I struggled to make any friends, had severe anger issues, and consistently underperformed in my studies compared to my peers. I had no sense of belonging and felt alienated, people would see me and turn the other way. Teachers would pretend like I didn't exist half the time. I had no passion, no hobbies and worst of all, I had no dreams. I had nothing to look forward to.
But life truly does wonders, and against all odds, everything changes.
At the ripe age of 16, I found my way.
The deafening roar of petrol engines, the pungent smell of burning fuel, the sound of rubber tires screeching against rough asphalt, race suits that looked straight out of a superhero movie. Pure speed and adrenaline coursing through my veins. Racing had given me purpose.
VCE · Creative Response
Creative Response: Protest piece
VCE Creative Response essay scoring 90%: The Grand Auction of Democracy Welcome fellow citizens! (should I establish a broad/specific target audience in…
The Grand Auction of Democracy
Welcome fellow citizens!
(should I establish a broad/specific target audience in the beginning?)
Welcome to the grand auction, where democracy itself is up for sale. Once a priceless treasure, built on the voices of people, it now will belong to the highest bidder. Make no mistake – this auction is neither for you or me, the common people. No, it is reserved for the oligarchs, the corporate giants, the political puppeteers, changing the governance of a nation into a business and our freedoms into bargaining chips.
Who wants the power to shape a nation, to rewrite laws, to decide the fate of millions? Corporations, raises their paddles – 500 million to write their own regulations. Do I hear more?
No surprises to now see Wall street chiming in – One billion to make sure economic policies make the rich richer, and we the working class poorer.
But wait! Another bid! Media conglomerates step in – 5 billion to control the narrative, to erode our critical thinking and replace it with blind obedience. Billionaires follow – ten billion to manufacture outrage, to fan the flames of division, to drown out real dissent with an endless cycle of conflict and reaction. Under the guise of free speech, they amplify the loudest most destructive voices, whilst silencing those who dare challenge their power.
Going once! Going twice! Sold!
But surely the most sacred part of Democracy is the people’s voice? As everybody knows a true democracy is where the voice of the people is heard. So who’s bidding? The working class? The students? The struggling families? Silence – Oh, what’s that? You can’t afford to bid? Your wages too low, your rent too high, your healthcare too expensive. Sorry folks, if you can’t pay, you can’t play. Next item!
The reality is that democracy is being bought and sold to the highest bidders. But Isn’t democracy meant to empower everyone, not just those who can afford it?
Democracy is founded on the ideas that the citizens of a country should take an active role in the government of their country. And a key pillar of democracy is that the people have a voice. If money decides who gets elected, who gets heard and who controls the conversation, then what remains of the people’s voice?
This is not democracy, it is oligarchy – power concentrated in the hands of the few, but at the expense of the many. This system thrives on silence, on obedience, on apathy.
But what is the biggest threat to oligarchies? Noise disruption and a passionate refusal to suppress our unhappiness. Let them know our discontent towards their corruption. Let them know that we will speak. Let them know we will protest.
Protesting is not just an act of disobedience; it is an act of democracy itself. It is the mechanism that allows the silenced to reclaim their voices on the street, the disenfranchised to assert their presence in public debate and the powerless reminding the powerful that they cannot govern without their
VCE · Text Response
Text Response: The family is the problem in 'We Have…
VCE Text Response essay scoring 77.5%: Shirley Jackson’s 1962 novel ‘We Have Always Lived in the Castle’ explores the inequalities created by…
Shirley Jackson’s 1962 novel ‘We Have Always Lived in the Castle’ explores the inequalities created by traditional family structures and the inescapable fear and paranoia they produce. She highlights how the rigid mid-century nuclear family model contributes to class conflict, social unrest, and female oppression, whilst also emphasising its impact on individuals, especially through Merricat’s narration.
Jackson’s novel presents the family as a major cause for class conflict and social tensions. The Blackwood family has an extremely private nature, particularly when guarding their wealth and class. Jackson uses the family’s house as a symbol of their wealth, as Mrs. Blackwood claims that “the highways (are) built for common people” … “and my front door is quiet”, highlighting the family’s own paranoid protection of their wealth from envious judgement. This fear is proven to be justified, as the villagers’ resentment leads to violence and destruction in the novel’s climax, particularly of symbolic items such as Constance’s harp and Mrs. Blackwood’s drawing room. Even after the death of most of the family and the symbolic death of patriarchal influence within the household, Merricat’s class anxiety continues, as she claims that “the people of the village disliked that we always had plenty of money”. She maintains the strong division between the private and public sphere, which strengthens the social tensions within the town. Despite her and Constance’s attempt to reject wealth and relieve themselves of its isolating effects, further suspicion is caused as they deviate from the norm. Jackson presents a conflict from which there is no escape, even through complete separation from society or destruction of symbols of wealth such as the Blackwood house.
VCE · Language Analysis
Language Analysis: 2023 VCCA Argument analysis
VCE Language Analysis essay scoring 75%: In the light of the current issues surrounding the engagement and community action of citizens of Narrow…
In the light of the current issues surrounding the engagement and community action of citizens of Narrow Valley, The Student music leadership group at Narrow Valley highschool vehemently assert a social argument to start a new musical festival targeted at the younger generation of Narrow Valley. Their leadership groups believes in the importance of bringing the community together to establish innovative partnerships and increase prosperity for the Narrow Valley Region can be achieved through starting this new musical festival. Through the use of an encouraging visual highlighting the importance of instruments and music bringing people together, the Narrow Valley leadership team encourage the community to petition strongly to allow the commencement of a music festival. Ultimately, the Narrow Valley leadership team’s broader intent is to drive for community action to occur in the region in order to strive for generational change and start a musical festival that is open to all young people to enjoy and love.
From the outset, the student music leadership team at Narrow Vallley highschool mounts a social argument to establish the importance of celebrating diversity and creativity in the local region through kickstarting a fresh, new festival of music. This is highlighted through the clever use of inclusive language presented through “we” and “our,” being the community of Narrow Valley. The word "We", encourages bringng the audience together, of the progressive youth and the skeptical Narrow valley community. The use of "our passion;" being the community highlights the conjoined belief of youth and concerned broader community to working towards a common goal by calling to action for an exciting new idea for the greater good of the Narrow Valley community. Additionally, the use of rhetorical language, through the leadership team offering a rebuttal, being “disrupting peace” and “corrupting” Narrow valley streets, highlights the cost of the music festival. However, the student leadership team offers the idea that the income of the community is reliant on the music festival, calling to action to the concerned community committee that the festival is the only way to stop the forthcoming economic crisis of the community. Furthermore, the salience of the visual highlights the use of many different looking instruments, being symbolic of the different members of the Narrow Valley community coming together to work towards the improvement of the region. This visual can ignite feelings of belonging for the youth in Narrow Valley community, having a safe space to come together and participate in, and encourage them to call for action to have a Narrow Valley music festival. Thus, the student music leadership team vividly buttress through their social argument the importance of the music festival for the broader community and the positive economical impact and improvement of the Narrow valley region.
Having intimated the importance of the musical festival for the social aspect of the Narrow Valley community, the
VCE · Text Response
Text Response: • "You're Norma Desmond. You used to be in…
VCE Text Response essay scoring 70%: Wilder initially highlights the systems and structures that hold women to impossible ideals, often driving them to…
Wilder initially highlights the systems and structures that hold women to impossible ideals, often driving them to delusion when they can’t maintain the perfect image. This is highlighted through the closeup shot of Betty, representing the deluded lifestyle of stars in Hollywood, working towards individuality by exclaiming the “ pictures should say a little something.” The framework highlights Betty’s determined, but meek views of Hollywood and her impact on the film industry, being delusional into thinking she can bend the rules to create a unique film in cutthroat Hollywood. Additionally, Norma’s delusion can be highlighted through her lack of ability to accept the truth, similar to Betty in believing she has a chance to be submerged into the fantasies of Hollywood once again. This is represented through the confronting midshot of Norma at Paramount studios, highlighting her aging and fading features in the fast paced film industry. Her exclamation, “Without me, there wouldn’t be any Paramount studios” evokes how she was disposed of by The Hollywood star factory as soon as she came of age, and also remained in her delusions at the hope of returning to her former glory. Furthermore, the extent of delusion and the disposable nature of Hollywood is represented through Demille’s treatment of Norma, by coldly stating “Turn the light back to where it belongs,” after Norma’s unannounced visit to Paramount studios. The acting and mannerisms of DeMille highlight his dismissive behaviour towards Norma, recognising her once fame, but finding her useless and unnecessary in the current stage of film. As an old mentor for Norma, he recognises her tragic fate, being disposed of by the industry and left to live in her past delusions of success as a cover to her relentless reality. Furthermore, Wilder reveals that society does not value older women, and brutally disposes of them when they are past their ‘prime’.
This is highlighted through the symbolism of Betty’s nose job, being her way of becoming involved in Hollywood and its unrealistic standards for females. Betty’s delusions about the idolised Hollywood allowed her to believe she would be successful in the film industry if she underwent surgery to fix her appearance, though she was dismissed
VCE · Creative Response
Creative Response: Speak up, the time is now
VCE Creative Response essay scoring 90%: The sun sinks behind the New York horizon, casting fire and gold across the streets filled with defiant voices.…
The sun sinks behind the New York horizon, casting fire and gold across the streets filled with defiant voices. The city pulses—not with routine, but with revolution. A sea of signs sways like a restless forest—echoing truths inked in cardboard: “Black Lives Matter,” “No Justice, No Peace,” “Speak Up, The Time is Now”—each a demand for justice, each a plea for change. The energy surges through the crowd, from children perched on their parents’ shoulders to elders who have carried the weight of this fight for generations. The air hums with emotion. Chants rise, fists clench, and history presses forward. Justice cannot wait. Stand now—before silence takes over. A powerful blend of distant chants, wailing sirens, and the rhythmic echo of hands raised in solidarity.
From the stage, microphone trembling in hand, I feel the breath of thousands pushing me forward. This is not just a protest—this is a reckoning. It is a declaration that silence is complicity, that inaction is a betrayal. In this moment, I realise that speaking out is not just an act of defiance—it is a vow to fight. My voice, joined with theirs, becomes a force for change—a refusal to stand idle while injustice takes breath after breath. For George Floyd. For Breonna Taylor. For all those whose names became a movement, but should have been a future.
To every person who chose to march today instead of staying comfortable: I thank you for being here. For showing up. For standing against injustice.
Look around. This is not just a protest—it is a reckoning. A breaking point where centuries of oppression can no longer be ignored. A moment where the weight of injustice threatens to crush us if we do not rise. But this is also something greater. This is the unstoppable force of change.
We gather on these streets where pain collides with unyielding hope. We do not stand here out of anger, though it burns within us. We do not rise from bitterness, though the world has given us every reason. We are not broken, though injustice has tried to break us. We stand because we believe. We believe in a world where justice is not a privilege, not a gift—but a birthright, sacred and undeniable.
Our message is simple, but its power is boundless: Black lives matter. Not conditionally. Not hypothetically. Always.
Black lives
VCE · Text Response
Text Response: How does Rainbow's End critique…
VCE Text Response essay scoring 80%: 1950s Australia was a period characterised by white hegemony, a time in which Indigenous people were deprived of…
1950s Australia was a period characterised by white hegemony, a time in which Indigenous people were deprived of their land and forced to assimilate into white society with the overall purpose of eradicating their culture from existence. Jane Harrison’s hopeful yet melancholic play, ‘Rainbow’s End’, is a fictional yet historically accurate piece that celebrates the unsung heroes of history – the women who were the backbone of the household and powerful inciters of change, and “signals a possible beneficial future” for the Indigenous community. Her work explores the lives of three Koori women in the Flats, utilizing their complex dynamics to delve into the ways in which collective effort and identity intertwine amidst the backdrop of racial segregation. The playwright condemns Australia’s cruel exploitation of Indigenous culture, whilst unveiling the crimes against women that have been concealed and erased from public knowledge. However, she also praises the resourcefulness and ability of Indigenous Australians to adapt during hardships. Therefore, while Harrison chastises the brutality and lack of sensitivity displayed by white Australians towards the Indigenous community, she honours the immense perseverance of First Nations people that transcends past the historical setting of the play and continues to be felt in contemporary society.
In ‘Rainbow’s End’, Harrison thoroughly delves into Australia’s oppression of Indigenous people, attacking how Indigenous culture is disregarded or otherwise exploited for entertainment. Throughout the play, radio announcements regularly occur, advertising the Ajax cleanser that “contains bleach” and “polishes so bright”, which harbours undertones of colourism. These seemingly attempts of product marketing symbolise the propagation of white ideals, representing the way in which assimilation is implicitly forced upon the Indigenous community, with the infiltration of the “whiteness” in mass media emphatically showcasing the abolishment of their culture, which was deemed a societal impurity. Thus, Harrison weaponizes the Ajax advertisements to underscore the invisible rhetoric of white supremacism that was prevalent in society, revealing the forceful absorption of Indigenous people into the white community. However, the playwright presents a darker side to this mistreatment, revealing that the white Australians did exhibit recognition towards Indigenous culture, but only when it is profitable to do so. That is, after the Queen’s visit, a historical event explored in the play, the royal couple is described to be learning “how to throw a boomerang” on national television. Harrison employs this scene to showcase how Indigenous culture is being appropriated for the sake of public entertainment, intentionally emphasising how little the white community respected the First Nations community as an equal. Therefore, in the play, Harrison heavily laments Australia’s neglect and lack of proper recognition of the Indigenous community.
Harrison also focuses on the silent adversities faced by Indigenous women, censuring how their sufferings are often hidden from public knowledge. A central minor character in the play is Ester, an Indigenous woman who is named but not seen. She is revealed to be with a “whitefella husband” that physically abuses her. The domestic violence she endures is not explicitly described by the playwright, but rather alluded to through the frequent “ocular contusions” on her face, mirroring the way in which physical violence from a woman’s husband was enabled and not properly acknowledged within the community of this time period. In fact, when the government later “took her boys”, Ester resorted to “drinkin’”
VCE · Creative Response
Creative Response: in oedipus the king, all those who…
VCE Creative Response essay scoring 75%: In Oedipus the King, all those who deserve it are justly punished Do you agree? Fifth century Athens exposed…
In Oedipus the King, all those who deserve it are justly punished
Do you agree?
Fifth century Athens exposed the traditional values and views that those who disobey the Gods, will as a result be punished accordingly. However in Sophocles tragic play, Oedipus the King, both ancient and contemporary audiences are left conflicted on whether individuals deserve the punishments they recieve. Those who have a lack in respect to the Gods are ultimately punished by them through the fulfillment of their fate. Additionally, those who act with blindness, are later punished through their sight, following their ignorance. However, some individuals are punished due to their character flaws which is not deemed a fair penalization.
Sophocles exposes how those who act in disrespect of the Gods values, are therefore punished by them through the achievement of their tragic fate. Despite the Gods having no stage presence throughout the play, a "stone alter" "stands at the centre of the stage" which Sophocles uses to foreshadow how the Gods are central to Athenian life. Despite this, Jocasta rejects the authority of the Gods and prophecys, as she urges Oedipus to "count (himself) free of every charge" in relation to the prophecys. Her blasphemous views that the Gods are "nothing" and "worthless" is contrasted with the revelation of her fate and suicide, reflecting how nihilism can lead to despair that is no longer bearable for individuals. This anagnorisis reflects the importance of following the Gods in daily life, which condemns the rise in humanism at the time, reflected through Jocasta's beliefs that "it's all chance, chance rules our lives", which she is rightfully attached for. Additionally, Sophocles examines the tension between divine power and human intellect, through Oedipus who is immediately
VCE · Text Response
Text Response: “Its not really your choice, is it ?”…
VCE Text Response essay scoring 82.5%: “Its not really your choice, is it ?” There is a clear distinction in the film between those who have power and…
“Its not really your choice, is it ?”
There is a clear distinction in the film between those who have power and those who do not.
Discuss.
Stephan Maxwell Johnson's High Ground (2020) is a western revisionist film which challenges traditional perspectives on the nations violent colonial past. Set in the early 20th century, Arnhem land, the film directly showcases the Australian frontier wars, which were a series of tragic confrontations often erased from mainstream historical media. Through intergenerational trauma, massacres and cultural enforcement High Ground sets truthful narratives on the nations past and the resilience of the first nations people. Ultimately, Highground dichotomizes the nature of power in both the perspective of colonialism and Indigenous, displaying the contrasting conflict and seperation of how both cultures establish power.
Johnson establishes the power imbalance between both cultures, portraying the colonials as more prevelant. As the colonials execute their “peaceful exhibition”, Travis is proned on the mountain holding highground amongst the Aboriginals. Unaware, the Aboriginals are being watched through Travis scope amplifying the power that the colonials have on Aboriginals. Every move they make are on constant watch through the scope casting them as vulnerable and powerless on their own land, underscoring the judicial power the colonials hold and how the First nations people are controlled and are governed by these rights on their very own land. Johnson amplifies the magnitude of control Conolonials had against the first nations people believing that they must abide by the very same law they are governed by and have the highest authority on the land they invaded. Further expanding this notion, Johnson continues to portray this power imbalance between both cultures as Travis kills a crocodile and pulls it out of its habitat. This juxtaposes the previous scene where Gutjuk was forcefully taken taken from his land during the first massacre. This side by side comparison is used by Johnson to connect Gutjuk and his culture to the land and its fauna, symbolising their unrelenting connection with their land and its sacredness to their culture. The crocodile was executed using the scope of the rifle which represents the colonial tactics of attacking the vulenrable and powerless also evident during the first massacre. Johnson condems the Setlers for taking the land away from the first nations people and holding authority over them forcing them to abide by their laws. As the crocodile is pulled out Moran instructs the first nations people to “get down” whilst travis stays stood for a photo. Portraying a vivid image of a clear distinction between those in power, as the first nations people lay low on the ground whilst travis is stood high and tall. Travis is holding a gun whilst the first nations people have nothing but their fists, further enhancing the clear distinction of power imbalance between both cultures. The killing of this crocodile is a representation of how the colonials treat the land and its creatures– with aggression and dominance. This mirrors how they will treat the aboriginals later on, as something to control and eliminate, rather than respect and understanding. Therefore, Johnsons depiction of this power imbalanc serves to critique the brutal logic of colonial expansion and the relentless drive to disposses.
VCE · Creative Response
Creative Response: Title: Forgotten Yet Furious Stimulus:…
VCE Creative Response essay scoring 82.5%: The mother - Nia Nia adjusted the mask on her daughter Sky's face, pulling the strings behind her ears. It…
The mother - Nia
Nia adjusted the mask on her daughter Sky's face, pulling the strings behind her ears. It was pointless, Sky was continuing to refuse and take it off, but the gesture provided a sense of calmness to Nia. They were marching again today, but this one felt different. Not bigger, just heavier. Nia was bringing her daughter along this time. George, Breonna, Treyvon. All the names of coloured people in America who have been a tragic victim of police brutality and stereotyping. Their names? Wiped from the headlines, forgotten. Nia felt ignited by this ignorance, wanting to remember their names even if it is on a crusty piece of cardboard written from cheap textas from the supermarket. That’s what Nia did with her mother anyway, attending protests and feeling the importance of being in a crowd of people, all fighting those who they thought deserved it. That's what Nia wanted to do with Sky. There they were, in the downtown streets of the city, engulfed in a sea of furious people. Sky was at her mother's feet, Nia looking down at the sign that was significantly bigger than Sky's head, sticky from the apple juice that was spilt that morning. The sign read, "My life matters". Nia felt a dryness in her throat. Not from anger, nor from rage. Yet, from pride, where she had forgotten the importance of being a black mother in this day and age. As Nia and Sky were pushed around in the crowd like pinballs, they approached the wall of police officers, all dressed in black armour and not moving a muscle. Nia felt her daughter hanging onto her hand, although the urgency and fear of the grip instilled a thought in her head. Maybe she is hanging onto more than her hand, a memory perhaps. Whilst drifting off in thought, Nia felt Sky let go of her hand and rush toward the opposition crowd. Although, Sky didn't look fearful, approaching a police officer, yet looking hopeful. Sky slowly raised her sign to the man behind the armour, completely freezing Nia, and the police officer slowly raised his fist. Nia had a moment of realisation, "do these cops deserve it, or have I been completely lost in my fury?".
VCE · Creative Response
Creative Response: Framework: Protest Title: Demand Progress
VCE Creative Response essay scoring 87.5%: Demand Progress A university speech on the Unfinished Fight for Marginalised women of Afghanistan I’ve been…
Demand Progress
A university speech on the Unfinished Fight for Marginalised women of Afghanistan
I’ve been exposed to two different realities: one included a place where my voice, rights and freedom was all taken away from me for simply being a woman, and another where these very things that makes me a human, granted to me and even encouraged. I know what it means to be silenced. I know what it feels like to have everything taken away from you in a matter of days and I know what it feels like to have your mother whisper to you ‘Learn’ so that I do not end up like her. The women in my life only knew silence, oppression and corruption. I am determined to break that cycle.
Moving to Australia, I’ll admit, it’s a great country. I have the ability to get to school safely, get a degree and even a job to help support myself. No man getting in my way to stop this lifelong fulfillment. It truly feels like a dream come true.
“Those who don’t live here are missing out big time” I once said ... except that is when I realised that I could’ve been one of those people. You could have also been one of ‘those people’. Yes, you!
Now, I didn’t come to this university, presenting Infront of you all to scare you away. I am here because I have notice something unsettling. As girls, we forget how privileged we are sometimes. You’re all here listening to another woman [me] giving a speech in this prestigious university that you all worked hard for to get in... and best of all, no man has stopped you from reaching this goal. Now imagine the roles reversed. What if you were an Afghan girl? I don’t want you simply to picture it, I want you to understand that you can end the conditions that keep those girls trapped.
However, it's unfortunate to see that we are no where near that progress. Now, it’s always #fight4womenrights but this only apply for the women in the West. When it comes to the situation in Afghanistan and maybe even in other countries, those same hashtags fall silent. A fight that’s apparently not worth advocating for. This level of hypocrisy astounds me. Women's rights, once a fierce battle cry, had faded into a mere talking point, a box to tick on the list of 'progressive' values. Protest, once the force behind real change, had been reduced to hashtags and empty symbolism, while the true fight for justice burned quietly in the shadows, unnoticed and ignored. Each achievement is masquerade as change but are we changing? Call it what you want, I call it 'Illusion of progress'.
A part of me is still that young girl from Kabul. It has never left
VCE · Creative Response
Creative Response: Framework: Protest Title: Demand Progress
VCE Creative Response essay scoring 82.5%: Demand Progress A university speech on the Unfinished Fight for Marginalised women of Afghanistan I’ve been…
Demand Progress
A university speech on the Unfinished Fight for Marginalised women of Afghanistan
I’ve been exposed to two different realities: one included a place where my voice, rights and freedom was all taken away from me for simply being a woman, and another where these very things that makes me a human, granted to me and even encouraged. I know what it means to be silenced. I know what it feels like to have everything taken away from you in a matter of days and I know what it feels like to have your mother whisper to you ‘Learn’ so that I do not end up like her. The women in my life only knew silence, oppression and corruption. I am determined to break that cycle.
Moving to Australia, I’ll admit, it’s a great country. You know, I get to go to school, get a degree and even a job to help support myself. “Those who don’t live here are missing out big time” I once said ... except that is when I realised that I could’ve been one of those people. You could have also been one of ‘those people’. Yes, you!
Now, I didn’t come to this university, presenting Infront of you all to scare you away. I am here because I have notice something unsettling. As girls, we forget how privileged we are sometimes. You’re all here listening to another woman [me] giving a speech in this prestigious university that you all worked hard for to get in... and best of all, no man has stopped you from reaching this goal. Now imagine the roles reversed. What if you were an Afghan girl? I don’t want you simply to picture it, I want you to understand that you can end the conditions that keep those girls trapped.
Unfortunately, now it’s always #fight4womenrights but this only apply for the women in the West. When it comes to the situation in Afghanistan and maybe even in other countries, those same hashtags fall silent. A fight that’s apparently not worth advocating for. This level of hypocrisy astounds me. Women's rights, once a fierce battle cry, had faded into a mere talking point, a box to tick on the list of 'progressive' values. Protest, once the force behind real change, had been reduced to hashtags and empty symbolism, while the true fight for justice burned quietly in the shadows, unnoticed and ignored. Each achievement is masquerade as change but are we changing? Call it what you want, I call it 'Illusion of progress'.
Apart of me is still that young girl from Kabul. It has
VCE · Creative Response
Creative Response: Construct an argument analysis piece…
VCE Creative Response essay scoring 87.5%: Initially assuming a moderate and intimate persona to reinforce the personal connection with podcast…
Initially assuming a moderate and intimate persona to reinforce the personal connection with podcast listeners, Tanley emphasises the intrinsic value which the wetlands provide; for both herself and the wider community who may not as readily recognise its benefits. In doing so, she aims to portray herself as genuine for prioritising the concerns of the Hapsey locals, thus reinforcing her future attacks against the Adventure+Nature group. Her warmth is immediately felt in her opening, particularly in stating the obvious that she is indeed “[our] host, Janelle Tanley”. The possessive determiner “your” is especially important in reinforcing her sense of commitment to the Hapsey residents, whilst simultaneously imbuing her podcast with a subtly casual and personal atmosphere only possible through her familiarity to the region. Tanley’s attachment of mystical and healing
VCE · Text Response
Text Response: The characters in Rainbows End are driven…
VCE Text Response essay scoring 75%: The play ‘Rainbows End’ written by Jane Harrision explores the lives of three Aboriginal women that attempt to…
The play ‘Rainbows End’ written by Jane Harrision explores the lives of three Aboriginal women that attempt to navigate the systemic racism experiences in the 1960s. Harrison exhibits how characters in the play are driven by a need for power. This occurs through characters using education, resisting social expectations and engaging in activism to establish power over their lives.
Firstly, characters use education as a means of achieving power over their lives. Dolly is completing “[her] family tree” as part of a homework assignment, its simplicity despite Dolly being in the 12th grade highlights how education for indigenous people is insignificant. Yet, Dolly’s determination to complete the assignment and persistence when asking Nan about their families past reveals that completing her “leaving certificate” and education is deemed necessary to gain power over her future. This conflicts with Nan’s realistic mindset when reiterating that Dolly would become a “Fruit Picker” and should forget any “Highfalutin’ ideas”. The song “To catch a falling star" is played in the background whilst Dolly picks fruit from a tree, symbolising the limited opportunities available to her as an Indigenous woman; with any future outside of a fruit picker far out of reach it could be considered ‘catch[ing] a falling star’. Glady’s purchasing of encyclopedias for Dolly attempts to provide her with the resources to “expand [her] possibilities” and increase knowledge, paving the way for a brighter future. Gladys relentlessly notes the importance of Dolly finishing her education and “get[ing] a job”. This suggests the ability of schooling to provide an Indigenous woman with power over their lives within a society that deems their capacity futile. Further, revealing Glady’s own deprivation of education as a child; instead becoming forced to work “as a maid” for a white family which causes her to remain illiterate until her 40s and live in a poor ‘humpy’. Thus, Harrison enforces the importance of education in achieving a successful future. Gladys takes initiative over her education when asking Errol to teach her to read. This later allows her to fluently “read any part” while presenting an Indigenous housing rights petition to a large crowd, reflecting how education provides characters with confidence to “do anything [they] set [their] minds to” and regain control over her living situation. Therefore, Harrison exhibits the importance of education for indigenous people in gaining power over their future.
VCE · Text Response
Text Response: The characters in Chronicle of a Death…
VCE Text Response essay scoring 72.5%: Exposing a world that is primarily motivated by adherence to heritage, honour and patriarchal beliefs, Gabriel…
Exposing a world that is primarily motivated by adherence to heritage, honour and patriarchal beliefs, Gabriel Garcia Marquez's novella 'Chronicle of a Death Foretold' does not merely demonstrate the ramifications of a prejudicial and honour-bound society in individuals' automony but also how they are able to overcome such barriers. Fundamentally, the author postulates that male-dominated societies deprive women of agency, additionally maintaining that honour-based societies coerce individuals to enable obscene violence. Additionally, Marquez holds that individuals facing oppression or ignorance can still regain independance.
VCE · Text Response
Text Response: In Oedipus the king, there is nothing the…
VCE Text Response essay scoring 85%: Sophocles 400 BCE seminal tragedy, Oedipus The King explores the extent to which characters can alter the outcome…
Sophocles 400 BCE seminal tragedy, Oedipus The King explores the extent to which characters can alter the outcome of, and the actions within their live, in the face of fate. Presented to an Athenian audience in the midst of the Peloponnesian war with the Spartan's, Sophocles provides insight to the ongoing Athenian debate between sophists, rationalists and religious thinkers, regarding man’s right to free will. Sophocles contends that man’s life is at the whim of the gods, and no action of an individual can alter their outcome. Furthermore, Sophocles adds that any attempt to avoid ones' fate ultimately bring it to fruition. However, through the contrasting responses of Oedipus and Jocasta to the revelation of their sin, Sophocles concludes that despite ones' fate, man can find meaning within the control the have over unfated actions in their life.
Indeed, Sophocles suggests that no attempts of an individual to escape their fate will be futile and will ultimately bring their prophecy to fruition. Oedipus' name, meaning 'swollen foot' suggest that his life, and the outcome of it were marked by fate from birth. The symbolism of swollen feet represents the predetermined pain of the life he was bound to live, and his inability to alter or change the outcome of his life. The irony lies in the fact that, despite his name directly pointing to his feet, his limbs which were tied at a young age, with scars relenting for the rest of his life, Oedipus fails to see the truth of his pained fate, underscoring the reckless nature of man trying to change his fate. Through this, Sophocles highlights the futility of man's action against the will of the gods and critiques those who are ignorant to their fate which is directly in front of them, such as when Tiresias blatantly tells Oedipus, "You are the curse. The corruption of the land." Throughout the play, the chorus' changing perspective on the effectiveness of man’s action against the will and fate of the gods suggests that ultimately, attempts to escape ones fate will be futile and meaningless. By the plays' conclusion, the Chorus' condemnation of Oedipus to his fate, and their closing line "man can only watch and wait the final day" suggest that passive submissiveness is the only reasonable response to ones' fate and any attempt to alter it will be unsuccessful. Furthermore, the riddle of the Sphinx which Oedipus solves, which told that man begins life crawling on all four, stands tall in his prime and is ultimately weak and dependant on a cane reflects Sophocles outlook on a life bound by fate. So too, Sophocles suggests that although throughout ones' life an individual may seem to thrive, by their conclusion, they will be crippled by the confines of their destiny. Similarly, the Chorus' final line tells provides an equally devastating outlook, for it foretells that no man is "free of pain" until death, suggesting that by definition, being bound by ones' fate is a type of inescapable and thus scrutinizing pain. Thus, Sophocles puts forth his bleak perspective; that being, life is full of pained predetermination which no mortal can alter.
Furthermore, Sophocles suggests that characters are at the whim of the gods, and no action of man can alter his fate. Nautical references made
VCE · Creative Response
Creative Response: Protest as unifying
VCE Creative Response essay scoring 80%: The streets pulsating with energy. The once busy roads of Melbourne where cars would blaze past unknowing…
The streets pulsating with energy. The once busy roads of Melbourne where cars would blaze past unknowing citizens, was now filled with protesters marching along together with signs held up high. Hundreds, maybe even thousands marched along Bourke street, the sounds of drums booming with them accompanied with voices rising in unison for the fight against complete injustice within this country. I was within that very crowd, standing among them, heart racing. Feeling the weight of generations of history pressing down on me, as well as giving me that extra boost to push me forward.
Today was not a celebration, it wasn’t as bright as the other protests that would usually light up the streets in colour and light. Today the colour came from our rebellion. From our unity. From the shared belief that we have had enough of the racist treatment that has been polluting the country. Though the weather was bound to show rain, no one cared because there was a greater cause that was being fought for. There was this feeling in the air in a sense that was stronger than fear, louder than anger, it was unity. In the ground you could truly feel it. The march of a thousand people all in unity shook the Earth, feelings of the rumbling could surely be felt all across the city of Melbourne.
VCE · Text Response
Text Response: “Her awareness of her daughter’s coming…
VCE Text Response essay scoring 87.5%: One’s connections are illustrated by their relationships with friends, lovers and family. In Tessa Hadley’s short…
One’s connections are illustrated by their relationships with friends, lovers and family. In Tessa Hadley’s short story collection Bad Dreams and Other Stories, Hadley explores the implication of connecting with humanity. Inspired by the suburban gothic genre, Hadley’s short stories, set throughout the 20th and 21st century reflect her British upbringing and life experiences in a time more influenced by patriarchal beliefs. Hadley accentuates the profound gain of one’s sense of self that connection can bring. Furthermore, she also alludes to the consequences of creating relationships. However, Hadley insinuates that a failure to connect with others may, in itself, be empowering. Ultimately, Hadley illustrates the impact of relationships as complex and varying.
Connecting with individuals can prompt a profound realisation of identity, creating an empowering effect. Such relationships can inspire confidence, allowing individuals to embark on a journey of discovery. These notions are alluded to in the portrayal of Laura in “Experience”. Hadley’s employment of a first person internal monologue – a feature noticeably absent from her other short stories – reflects Laura’s journey of discovery, creating a seemingly authentic recount as she feels “maimed” at her “innocence”. Hadley’s visceral illustration of Laura’s identity, comparing her feelings to physical pain insinuate the damaging impact that a lack of connection with her husband, and indeed, anyone, has brought her. This idea is contrasted through the portrayal of her relationship with Julian. Their relationship, one built upon Laura’s isolation from others, symbolises Laura’s desires to remove herself from the social norms of marriage. Instead, she desires the “flamboyant” lifestyle that her foil character, Hana, experiences. It is through her brief connection with Julian that Laura is able to transcend social expectations and discover her sense of self. Conversely, this idea is contrasted through the characterisation of Nola in “Silk Brocade”. Her actions of “nurs[ing] Blaise back to health” accentuate her selfless nature. Her actions prompt her to feel “just so happy” about their marriage. Here, her short, declarative statement asserts her confidence and joy, alluding to her sense of fulfilment. It is through the characterisation of Nola and Laura that Hadley posits connections as a force capable of empowerment, allowing one to realise their true sense of self. Ultimately, she encourages her readers to recognise the significance of relationships – warning us not to take our most significant source of empowerment for granted.
However, Hadley also conveys the connections one makes as potentially detrimental. Hadley explores the damaging impact of connection on not only one’s identity, yet also their other relationships. Through her third person, omniscient narration of “An Abduction”, which illustrates a pivotal moment in Jane Allsop’s life, Hadley accentuates this notion. The weather, a recurring motif, is initially oriented as a “bright summer day” with a “cerulean sky”.
VCE · Creative Response
Creative Response: Personal Journey
VCE Creative Response essay scoring 92.5%: Have you ever chased something, believing it would bring joy, only to find yourself holding nothing but air?…
Have you ever chased something, believing it would bring joy, only to find yourself holding nothing but air? Have you ever reached toward a dream, only to feel it dissolve like smoke in your hands?
For years, I did. I ran after the noise—the pulse of bass-heavy music thudding in my chest, the chatter that spilled like a constant waterfall, the laughter that promised belonging. At parties, the air clung to me: a mix of smoke, sugar, and perfume. I grinned until my cheeks stiffened, laughed until my stomach cramped, spoke words that tasted foreign on my tongue. It was dazzling, yes, but beneath the strobe of light and sound, there was a silence that cut deeper than any song.
If you’ve ever known that silence, that gnawing ache of hollowness, let me assure you: it doesn’t have to be your ending.
We are creatures of longing. Some try to satisfy it with love, others with recognition, money, or control. I tried to feed it with approval—collecting it like coins—and with rebellion, as if defiance could anchor me. But the harder I grasped, the sharper the hunger grew, like a wound that refused to close.
That is why Jesus came. He saw our fractured selves, our relentless striving, and carried the burden we could never lift. When I stopped running, I realised He had been there all along, waiting.
From the outside, my life seemed anchored. A Christian household meant rhythms: morning prayers, evening devotions, verses whispered before bed. It looked as though I had roots. But storms expose what is buried. When temptation struck, I toppled quickly, not rooted in faith but in appearances.
I was living two lives. On Sundays, I stood in church, palms raised, lips mouthing rehearsed devotion. On weekdays, I was a different person entirely—tongue sharpened, words crude, humour laced with desperation to belong. I wore masks so often that I forgot the contours of my true face.
One memory in particular captured this fracture. On a Sunday morning, the choir’s voices rose around me—harmonies stitched together like gold thread. I clapped, smiled, nodded along. But in my mind, Saturday night replayed itself: the offhanded jokes, the echo of laughter that wasn’t joy but noise. For a heartbeat, the two worlds collided—the hymn and the hollowness—and I felt the crushing weight of my own duplicity.
VCE · Creative Response
Creative Response: Personal Journey
VCE Creative Response essay scoring 87.5%: Have you ever chased something, believing it would bring joy, only to discover that your hands closed around…
Have you ever chased something, believing it would bring joy, only to discover that your hands closed around nothing but air? Have you ever stretched toward a dream, only to feel it dissolve like mist between your fingers?
For a long time, I did. I ran after the laughter, the pulse of bass-heavy music rattling the walls, the endless chatter that seemed to promise belonging. At parties, the air smelled of smoke and sugar, a haze of perfume and sweat. I smiled until my cheeks ached, laughed at jokes that weren’t funny, and nodded along with stories that made me feel hollow. It was intoxicating, yes—but in the quiet moments afterward, the noise dissolved, and all that was left was silence. A silence so sharp it pressed into me like a blade.
If anyone here knows that silence, that ache of emptiness, hear me: the void does not have to be your final chapter.
We all carry a hunger that nothing in this world can satisfy. Some try to feed it with love, others with recognition, money, or success. I tried filling mine with approval and rebellion—clothes that didn’t feel like me, words that weren’t mine, friendships that demanded more masks than I could wear. The harder I tried, the emptier I became.
That is why Jesus came. He saw our striving, our brokenness, our desperate attempts to build meaning out of dust. He stepped down, walked among us, and carried the very weight we could not bear. And when I finally stopped running, I found Him waiting.
From the outside, my life looked solid enough. A Christian household meant routines: morning prayers, evening devotions, and verses read before bed. To relatives and neighbours, it seemed I had deep roots. But storms expose the truth. When temptation struck, I crumbled. I was not rooted in faith, but in appearances.
I lived two lives. On Sundays, I stood in church, hands raised, voice lifted, eyes closed in rehearsed devotion. On weekdays, I was someone else entirely—sharp-tongued, restless, searching for attention through language I knew was wrong. At school, I became the joker, tossing crude lines to win a laugh. The applause of my peers felt like a prize; the nod of my parents felt like another performance.
VCE · Creative Response
Creative Response: Personal Journey
VCE Creative Response essay scoring 85%: Have you ever chased something, believing it would make you happy, only to find yourself empty? Have you ever…
Have you ever chased something, believing it would make you happy, only to find yourself empty? Have you ever stretched out your hands toward a dream, only to grasp at the wind?
I once followed the laughter, the jokes, the loud music, thinking they would bring me joy. I searched and I searched—only to realize I was running in circles, chasing an illusion.
If there’s anyone here today who feels the way I once did, I urge you—breathe, breathe in the air. Listen and reflect, because I stand before you as living proof that emptiness doesn’t have to be the final chapter.
We all carry a void inside us, a hunger we cannot satisfy on our own. Whether it’s love, acceptance, money, or purpose—we are all in need of something. But no matter how much we grasp at the temporary, we remain unfulfilled. That is why Jesus came.
He saw our longing. He saw the brokenness. And so, He humbled Himself, leaving heaven to walk among us, to carry the weight of our sins. And because of Him, my story changed.
I grew up in a Christian home—the morning prayers, the evening devotions, the Bible reading before bed. From the outside, it looked like I had deep roots. But when the storms came, I was the first to fall. I lived two lives: one in church, where I raised my hands during altar calls, and another at school, where my tongue was untamed—swearing, joking, seeking validation. I was constantly switching masks, playing a role that wasn’t truly me.
Yet deep down, in the quiet moments, when I lay awake at night staring at the ceiling, I felt it. The weight of my choices, the hollowness of it all. I was exhausted—our life's story lays in the back of our minds, as a tale that haunts us, lifts us, and keeps us moving. And that night, my story haunted me.
Tears streamed down my face, warm and relentless. Each drop felt like a piece of my heart breaking. I cried and I cried, until my body ached, until my eyes burned red. In that moment, I was done. I was tired of pretending, tired of searching, tired of the endless cycle of chasing after things that never filled me. I was desperate for something real.
I cried out that day. Crying in desperation. Crying in need. In need of a rain check. In