Presentation on theme: "Monday 01/10/12 Critical essay NAB – 1 hour. Choose one question. Answer on ‘War Photographer’ by Carol Ann Duffy. Take 15 minutes to choose question."— Presentation transcript:
Monday 01/10/12 Critical essay NAB – 1 hour. Choose one question. Answer on ‘War Photographer’ by Carol Ann Duffy. Take 15 minutes to choose question and plan answer. Take 5 minutes at end to read over work. Aim to write 6 paragraphs
Paragraph plan Introduction – 5 key points (on wall) Paragraph 1 – stanza 1. (words of question, point, quote and comment, personal response, words of 3 rd part of question Paragraph 2 – stanza 2 (A/A) Paragraph 3 – stanza 3 (A/A) Paragraph 4 – stanza 4 (A/A) Conclusion – brief mirror of introduction.
Group task In groups break down the question into 2 or 3 parts – what is the question asking? How will you answer it? What are the key words of the question? Take a paragraph each? How would you answer this? What evidence would you use? How would you relate this to the question?
Choose a poem in which contrast is important in developing theme? Examples of contrast. Evidence Why is it important in developing a key theme.
Stanza 1 Example of contrast – darkroom and war zones This is important as his desperation to be ‘alone’ highlights the impact war has had on him. ‘light is red and softly glows’ ‘Red’ has connotations of death, danger and war contrasts with ‘softly’. This highlights that war can bring out goodness in people as well as violence.
Contrast – stanza 2 ‘Solutions slop’ contrast with ‘ordered rows’. This reveals that the war photographer is a complex character. This is important in developing the theme of the impact war has on the individual and how people cope with war. The contrast between ‘Rural England’ and war zones highlights that some parts of the world are peaceful whereas others have very difficult events.
To maximise success You must know the poem off by heart (key quotes) Summarise each stanza of the poem in your mind – as that is the basis for each paragraph. Read the question carefully, underline key words and identify the 2 or 3 things the question is asking you to do. Keep your answer to the point – answer the question. Use technical jargon – metaphor, contrast…if appropriate.
Key points Who - Character – War Photographer Where – darkroom When – 1980s What – developing his pictures and reflecting on his experience Why – highlights the theme – the damage caused by war How – through a 3 rd person, apparently ordered poem with religious and thought provoking images.
Task 1 Individually you will take 10 minutes for you (on your own!!!!) to write a summary of the stanza you are allocated.
Then – in your groups. Share your summary and write out a group one.
Stanza one Establishes setting and character. The photographer is relieved to be alone in his darkroom. The darkroom is peaceful like a church and soothing with the light that softly glows. The photographer is compared to a priest suggesting he is a good man who has dedicated his life to his work. However, the stanza ends with reference to where he has worked and the final line is a religious reference to death.
Stanza 2 This stanza begins in a mundane manner ‘he has a job to do’. This makes his job sound ordinary which is in contrast to the image of him as a priest. Moreover ‘solutions slop in trays’ making him sound careless. However, we realise that his hands ‘tremble’ and realise he has been affected by what he has witnessed. ‘Rural England’ contrasts with Beirut etc in stanza 1. The oxymoron ‘ordinary pain’ emphasises the confusion war has created and how he has little sympathy for ‘ordinary’ problems.
Stanza 3 The tone changes again – ‘Something is happening’. He experiences a painful memory ‘twist’ of a dying man whom he has photographed. Moreover the ‘half formed ghost’ reveals that he has been haunted by what he has seen. It highlights that war punishes everyone. Also these memories will stay with him with the use of the word ‘stained’. It will be difficult to remove.
Stanza 4 This focuses on the attitude of the editor and readers. From the ‘hundred agonies in black and white’ the editor will only pick 5 or 6. This sounds very cold as though the editor does not care – it is only a job. The idea of black and white is a reference to the truth. The readers are only affected for a short period of time and in the final 2 lines the war photographer questions the purpose of his job. The tone changes and he wonders whether all he is doing is earning a living. In other words can he make a difference?
No 1 – complex character Theme – damage that war can do physically and emotionally / how war changes or impacts on people. Complex character –Isolated versus war zones –Organised –Important –Careless/messy –Physically affected –memories are painful –Haunted –Tries to tell the truth –Feels his job is worthless
No 2 – aspects of structure Theme – impact of war on people. Verse form and rhyme Ordered, regular rhyme scheme Like soldiers, like soldiers graves. Enjambment Chaos like a war zone and reflecting the inside of his mind Contrast Setting Character in stanza 1 and stanza 4 –Job important to job worthless.
No 3 – conflict or danger or death Theme – impact and consequences of war. Mood – serious, sombre, reflective… Show how – setting ‘darkroom’ – peaceful, safe and ‘dark’ – reflective. Character and imagery Central idea = theme
Evidence Darkroom Spools of suffering Ordered rows Red Church/priest Belfast…All flesh is grass Tremble Fields which don’t explode…nightmare heat. Cries of this man’s wife Half formed ghost Blood stained into foreign dust A hundred agonies in black and white He earns a living and they do not care
No 4 – central concern – last lines Central concern – the impact of war and the fact that society cares so little. Start with final lines and analyse what they mean then go to start of poem. Think of a film told in flashback. Priest Ordered rows Belfast…All flesh is grass Tremble Fields which don’t explode…nightmare heat Twist – connotations? Are the public twisted? Ghost A hundred agonies Editor’s reaction Public reaction