Lesson 6

Maus Lesson 6

Chapter Four – The Noose Tightens

·         Consider the title page of this chapter. How is the reader positioned by the combination of the visual image and the use of figurative language in the title?

      ·         Explain what happens to the furniture on page 81.

      ·         Re-visit pages 82 and 83. The last frame on each page is interesting. Note the perspective on page 82 and discuss it significance. Why do you think the author used three separate but unframed pictures on page 83?

      ·         Discuss the powerful nature of the central frame on page 85. How is the reader positioned to respond?

      ·         What effect does the telling of this story have on Vladek on page 93?

 

Maus - Lesson 5

Vladek

 

 

In the first four chapters of Maus, we learn a good deal about Vladek, both from the main narrative and from the frame narrative. Write a paragraph in response to each of the following:

 

How would you describe the young Vladek? Justify your responses by referring to panels from the main narrative. You should  quote what he says as well as pointing out his actions. Refer to other positioning techniques if necessary.

 

How would you describe the older Vladek? What things is he pre-occupied with? Hint - these often annoy Art. Again, justify your responses by referring to panels from the frame narrative.

 

Post your two paragraphs to your blog.

 



Maus - Lesson 4

Read and discuss the positioning techniques that are specific to the graphic novel. (See the document on BB - Positioning techniques in Maus)

Now, working in a small group, choose a section of either Chapter 2 or 3 and analyse how some of these positioning techniques are used. Make notes and be prepared to present a discussion to the class. Your discussion should explain what the reader is positioned to understand and to feel and should refer specifically to aspects of the text which position the reader. Each group will deal with a different section.

Email your notes to Mrs Grehan. Remember to clearly identify the pages you have analysed. The notes will be assembled and placed on the class blog.

Maus - Lesson 3

We learn a lot from the first page of the book including the kind of relationship Art has with his father . Revisit Page 1 and make notes on what we learn.  Refer to specific aspects of the text in your notes.

Continue your note taking by answering these questions:

Why does Spiegelman call Mala a survivor? What does he mean by this?

Why does Vladek choose Anja over Lucia? What do you think of his choice?

Vladek asks Art not to write about Lucia in his book. Art promises not to but then breaks this promise. What do you think of Art's decision to break his promise? Why does he tell the reader about this?

Maus - Lesson 2

Re-visit pages 14 and 15.

Consider the pictures carefully and make notes on what you see. Consider the shots and angles used and the purpose these might serve as well as looking at what you see in each picture.

Now write this scene as a narrative. Consider the following:

1. How much of the dialogue do you want to include?
2. How will you accommodate the change in narrator to Vladek?
3. How will you accommodate what was revealed in the pictures? Will you have to leave some of these things out?

You may work in pairs. Post your narrative to your blog. Read to the end of Chapter 3 for homework.

"Maus" - Lesson 1

As you read, you should consider the following questions in relation to the metaphor on which the book is based.

How useful is the "cat and mouse" metaphor in Maus? 

1. How apt is the metaphor? Does it extend beyond the one-dimensional suggestion of a cat-and-mouse chase or cats toying with their prey? In what other ways might it be considered appropriate?
2. Some have suggested that Spiegelman's point is that humans are "nothing but animals." Do you agree? Why or why not?

Now consider how you might use a similar metaphor to construct a story board. Choose two groups who are engaged in a conflict of some kind and tell the story of an episode in their conflict using animals to represent the two sides.

You might choose to base your story board around two sporting teams or around two groups in a school, such as the popular group and the sporty group. It's up to you to choose your groups and then decide on the animals you will use to represent them.

In constructing your story board, consider the following elements in each frame:

·         What shot will you use?

·         What angle will you use?

·         What element of the story is told?

·         Which characters are included?

·         Will you include the narrative voice?

·         What dialogue will you include?

 You should be able to articulate the reasons for your choice.

Post your answers to the questions on your blog and be ready to present your story board in class. You may work in pairs to create your story board.

Read to the end of Chapter 2 for homework.

 

Representations of War unit

Year 10 English

The Literature of War

Introduction

As we progress through this unit, you will be analysing various texts to identify the way war is represented. We will watch the film, Gallipoli, together in class as well as reading some poetry. You will read Maus in your own time, initially, and then we will work on identifying its representation of war together. The questions you need to ask yourself are:

  ·         What does this text say to the reader about war? How is the idea of war represented?

  ·         How does the text convey this message? What aesthetic features position the reader          to understand the text's messages about war and to respond?

The aesthetic features will be different for different kinds of texts. They will include the following:

Movies: camera angles, camera shots, lighting, costuming, characterisation, dialogue, setting, sound effects, music, structure, filming devices such as slow motion, fast forward etc

Graphic novel: structure, characterisation, point of view, shots and angles, juxtapositioning, symbols/motifs, language choices, setting, satire, irony

Poetry: simile, metaphor, alliteration, imagery, assonance, personification, repetition, rhyme, rhythm.

As you watch the film, read Maus or read a poem, you need to be aware of these questions and take notes in response to them.