1 What is your
favourite action
movie?
2 What is your
favourite action
television show?
3 Who is your favourite
action hero?
4 Who is your favourite
action writer?
5 What do you think is
the appeal of action
to viewers or
readers?
Action is easily seen on
screen or in real life,
but how do you write
so that your reader
‘sees’ and feels a part of
that action?
In this unit
• Action in narrative
texts
• Action in sporting
photographs
• Action in news
reports
• Action in poetry
• Action in film
Action, action, action!
action noun
1. an act or deed: a brave
action (achievement,
exploit, feat)
2. the state of being active:
Spiderman went into action,
saving the boy from certain
death.
3. a way of moving: the action
of a horse
Word history: Latin actio, to
act
Word family: act, active,
activity, activate, activist,
actor
Proverb: Actions speak louder
than words.
1
Wordplay
This is first-person
narrative, so we
experience the character’s
point of view; we see the
action through his eyes.
Note: a phalanx is the
battle formation used by
the Spartans.
Writer uses many onesyllable words. This
conveys a sense of
urgency.
Narrative structure is
designed to capture
action; there are no
unnecessary descriptions
of setting or character.
2 english alive 1
ction — isn’t it a great word? Think action and you
A
might think of adrenaline-pumping car chases in spy movies,
exhausted players striving for the ball in a nail-biting football
grand final or dramatic battle footage in a documentary. If you
like a good action movie, for example, it’s probably because you
like the ‘buzz’ generated by fast-paced events and characters who
are always doing things and have lots of things happening to
them. Many popular blockbuster novels also
rely on lots of action for their audience
appeal.
Reading and writing
narrative action
Below is an extract from the novel Heros Nomad by
Dan Ashlin. Heros Nomad is a young Spartan warrior
fighting the Persian invaders of his homeland at the
battle of Thermopylae in 480 BC. This narrative
text describes a small part of the battle from Heros’s
point of view. The margin notes will give you
some tips to consider when writing your own
action stories.
A
wave of pain shoots through my body. Spear clashes
upon shield, sword upon sword. I block the sword
stroke, barely able to stand. Scrabbling, I hold my ground as
the enemy swings again. Though I am protected by the
phalanx, by the strength, trust — and, yes, love — of my
comrades, the enemy is so strong.
He swings again, and I take the blow on my shield. I am
driven backwards, yet still I hold.
Do I not fight for all I hold dear? That which I love better
than life itself.
With my last strength, my last power, I thrust forward.
The enemy — my own particular enemy — laughs. He enjoys
this.
Rage rises within me as he parries my thrust and swings
again. Again that frightful noise, sword upon shield. Again,
the pain that shoots through my entire body. Again, the
frantic struggle to hold ground, to hold my feet.
Words like spear, shield,
sword and enemy provide
an orientation: this is a
battle.
Verbs in the present
tense enable the reader
to ‘see’ or experience
the action as it happens.
Description of feelings
involves reader
emotionally.
Short sentences or
sentence fragments drive
the action of the battle
forward and suggest
rapidity and urgency of
battle.
Images of the sea
symbolise the
impossibility of the task.
Short sentences, without
description, enable the
reader to instantly ‘see’
what happens.
And then, can it be? An opening! The man is too confident — just a little too sure of himself. Working on instinct,
ignoring the protests of my body, I jam my sword forward.
The point slips under his arm, into the tiny gap between his
breastplate and shoulder-guard.
I feel the sword meet flesh. I wriggle the point, withdraw.
Gouts of blood spurt from the wound. My enemy, already
raising his sword for the final, killing thrust, looks surprised.
His mouth falls open.
Blood wells from his mouth, his eyes glaze. I kick forward,
using my foot against his body to free my sword. It slips out,
yet resists. It comes away red, shining.
He falls forward, against me, driving me backwards.
And again I hold. But I am ready to collapse.
And then another. It is not enough to kill just one. Not
with these odds. Another enemy. Same armour. Same shield.
Same sword.
The same dark, dark eyes.
And, blazing behind him to give him heart, the same fire.
It is like trying to hold back the sea. No matter how small
the gap in our ranks, it is enough. Is that an enemy that has
already broached our wall? Are they, even now, lapping
around us, surrounding us, crushing our tiny forces with
laughing ease, as a strong man might crack a nut?
Not my concern. My world has shrunk to just this sword,
this shield and the enemy before me. And behind me, my
home.
His sword swings. I block it. Again. Again! I swing my
shield, to take his final blow. With less than a heartbeat to
spare, I manage to protect my heart.
That tiny half second that cheats
death.
And then, my eyes closed, I swing my
sword. In hope, not in judgement.
No energy left to pick my spot.
Only let the gods be with me.
And they are! My sword
meets his wooden shield,
and sends it spinning from
his hand. I barely have time to
notice that the thong has broken.
His eyes flicker to his left, for that
slightest of small times. Enough for
me to bank everything on a single
cut, up and across, slashing his face
across the eyes.
He falls. He rises, staggers, his
hands holding his eyes. He falls.
Strong verbs add drama,
colour and movement to
the action.
Repetition suggests
continuing fast-paced
action.
Vivid images create
pictures in the reader’s
mind — a movie-like
feature.
Clues to character’s
motivation
Short sentences mirror
the character’s
exhaustion. They imitate
panting or rapid
breathing.
Sentence fragments sho
character’s desperation —
we sense the action will
soon climax.
Resolution of this part of
the battle is told through
action verbs.
unit 1 • Alive with . . . action 3
READING NARRATIVE TEXTS
Understanding and knowing
CDthe R
OM
on
Action writing often
uses:
• a narrative structure,
e.g. novel, short story,
ballad, play or film scrip
• verbs in the present
tense
• powerful verbs to carry
the action forward and
add drama
• short sentences,
sentence fragments or
single words to suggest
urgency and fast pace
• repetition to suggest
rapid sequence of ev
• minimal description of
setting and character so
that the emphasis is on
the pace of the plot, i.e.
what happens.
1. Use the information in the text to complete the following table.
Main event being described
Number of people involved
What can be heard
What can be seen
2. List at least ten verbs in the text. How do you know they are verbs? How do
they help show the action of the narrative? (See ‘Verbs’ in Wordsmith, page 5)
3. Find the word gouts in line 7, page 3. What do you think it means? What
other words in that sentence would help you to work out the meaning? Make
a list of any other words whose meaning you are unsure of. Try to work out
their meaning from the words around them before you check a dictionary.
4. What might be the purpose of this text? Is it (a) to show that war is wrong,
(b) to tell a story, or (c) to show the nature of courage and bravery? Explain.
Making meaning
5. What are the clues in the text that tell you this is about a historical rather
than a modern-day battle?
6. What do you know about war that is confirmed or contradicted by the events
in this text?
Analysing and reflecting
7. How do you think the author wants you to feel towards the character of
Heros? What parts of the text show how the author might be ‘positioning’
you to feel this way?
WRITING AND RESPONDING TO TEXTS
8. Choose a small section of the text and: (a)
rewrite it from the enemy’s point of view. How
has it changed? (b) rewrite it in the past tense.
How has it changed? Which rewrite affects the
‘action’ nature of the text the most? Why?
9. Draw up two columns, one headed Spartan
Warfare and the other headed Modern Warfare.
Now list the differences between the historical
battle shown in the illustration on page 3 and
modern warfare, as shown in the photograph on
the left.
10. Write or draw the scene that you think would
follow the one in the extract. It might be another
action scene or a lull (a quiet period) in the
battle. Think about how these scenes might be
different from each other and how your writing
or drawing would reflect that difference.
4 english alive 1
CDthe R
OM
on
Verbs
Verbs are words that
convey actions. They tell
us what something or
someone does. Every
formal sentence must
contain a verb. Verbs have
tense; that is, they change
according to the time and
duration of the action the
are expressing. There are
three basic tenses:
• present, as in Charlie
grabs the man.
• past, as in Charlie
grabbed the man.
• future, as in Charlie will
grab the man.
Where more than one
word makes up the verb
(for example will grab),
these verbs are called
compound verbs.
Verbs
Words that pack a punch
To create a vivid image in the reader’s mind, ‘action’ writers choose powerful
words to describe what is happening. You will need to practise this skill if
you want to write effective action narratives.
1. Let’s look at another example of an action narrative from a novel called
Supernerd by Casey Lever. In this story, 14-year-old Charlie gains
superpowers after being struck by lightning while on school camp. In this
extract he is trying to rescue a classmate from a gunman when his
superpowers suddenly desert him.
Choose the words you think pack the biggest punch from the list of
options.
U
sing Roy’s crumpled body for cover, Charlie put (eased, pushed, insinuated, wriggled) himself carefully through the jagged-edged window
frame and moved (crawled, inched, crept) towards the unconscious man.
Gently, he removed (slid, prised, levered) the pistol from his grip. Meanwhile,
Bernie had thrown (flung, dashed, tossed) Danny to the ground, then got
(grabbed, clutched) him from behind by the hair and pulled (yanked, jerked,
snapped) his head back viciously.
Compare your chosen words with a classmate and discuss how your
choices have increased the impact of the original narrative. The words
you targeted in this activity are all verbs. Although all types of writing
use verbs, ‘action’ writing relies heavily on them because verbs do the
work of showing what is happening.
2. Choose powerful verbs to fill in the spaces in this extract from Supernerd.
C
harlie
to his right, rolling his body into a ball, then
up, and
towards the cover of the scrub. He almost made it
clear when he felt a searing blade of pain
into his right shoulder. The
shock of knowing he had been shot
him and he
to the
ground. He
Bernie approaching and he
over and waited.
Bernie
down close in the darkness, trying to see him. The moment
when he was closest, mere centimetres away, Charlie reached up and
him by the shirt. Surprise made Bernie
his footing and he
to the ground. Charlie
hard on the man’s back and
his
arms tightly round his neck to keep himself there, all the while trying desperately to
the white light inside his head. It wasn’t there.
Over to you
3. Write the next scene using words, particularly verbs, that pack a punch.
✔ learning
I UNDERSTAND:
how writers create
action in narrative texts
how to use powerful
verbs to capture action.
B
ernie and Charlie fight for control of the gun, the gun is lost in the darkness
and Charlie and Bernie engage in hand-to-hand combat. Bernie falls and
Charlie is dazed. Bernie recovers, finds the gun and is about to shoot Charlie
when Danny approaches from behind and knocks Bernie out with a tree branch.
Here is the first sentence to start you off:
Bernie struggled awkwardly to his feet.
unit 1 • Alive with . . . action 5
Reading action in visual texts
Below is a photograph of a basketball game in action. It can be described as a
single-frame visual text, because it presents a single, still image. The action in
the image has been captured or frozen at a moment in time. However, our eye and
brain can process the image to ‘see’ the action it portrays. So how has the photographer shown us this action?
Ball is the central
symbol of the action.
Hoop is an important
symbol, crucial to the
action.
In contrast to the players,
spectators are seated — no
movement is noticeable.
They are looking at the
action of the players in the
image.
Players’ faces show
concentration, grimacing.
Players’ body language
shows action — running,
jumping, reaching,
extending.
Australia’s Lauren Jackson leaps for the ball.
6 english alive 1
Main focus of action is the foreground —
eyes of players are focused on the ball.
READING PHOTOGRAPHS
Understanding and knowing
When reading a sing
frame visual text such
as a photograph,
consider these
elements:
• what is happening in t
text
• who is shown or
represented in the text
• the size, shape and
position of the objects/
people in the text
• the use of any symbols
in the text
• the viewing angles
(aerial, eye-level etc)
used by the
photographer
• whet
or close-up shot has
been used
• what the purpose of the
text might be
• whether there is a
message in the text.
Look carefully at the photograph of the basketball match.
1. Which part of the image draws your attention first? Where do your eyes move
next? Explain why this happens.
2. Write a commentary that describes the action in the photograph. Use short
sentences and strong verbs such as swooped, arched, strained, groaned, thundered,
soared, dived, captured.
Making meaning
3. What do you consider is the purpose of this text? For example, is it to illustrate
a sporting news report, to advertise an upcoming match, to promote health
through sporting activity or some other purpose? Write different captions for
the photograph to show how it could be used for the purposes listed above.
4. Why do you think the photographer has chosen this viewing angle?
5. How might your understanding have been changed if the photographer had
taken the shot from behind the players? Would the action have been captured
better that way? Why or why not?
Analysing and reflecting
6. Which, if any, of the following messages can you get from this image? Support
your answers with evidence you can find in the photograph.
(a) Sport is played by some, watched by others.
(b) Sport is big business.
(c) Sport is good for your health.
(d) Only women play basketball.
(e) Basketball requires a high degree of fitness and athleticism.
RESPONDING TO VISUAL TEXTS
✔ learning
I CAN:
read and understand
sporting images
write captions that
capture action.
Study the sporting images below.
7. Describe the size, shape and position of the objects and
people in the images.
8. What viewing angle has the photographer chosen for
each photograph? Why do you think this viewing angle
was chosen?
9. One possible caption for the photograph on the right
might be ‘Champion skateboarder knocks out crowd with
stunning display’. Provide captions for the other images
shown, using powerful verbs to capture the action.
unit 1 • Alive with . . . action 7
Reading and writing action in
everyday texts
Much of what we know about events that happen in our community, in our
country and around the world comes from the mass media. Newspapers are one
example of the print media; the reports in them are described as everyday texts.
Many people read a daily newspaper to find out what is happening. There are
many types of stories in a typical daily newspaper but readers are often attracted
to headlines that tell of dramatic events. Action sells!
Newspaper reports
On the opposite page is an example of a news report that might appear in a local
newspaper. The margin notes explain the structures and features of a news report.
A journalist writing a news report of an exciting or newsworthy event must
gather the facts first. This may be done by:
• talking to eyewitnesses to the event
• talking to participants in the event
• reading reports by police, other emergency organisations or experts
• making observations at the scene.
Whatever methods are used to gather the facts, the journalist follows a standard
structure when composing the report. This is shown in the diagram below.
The inverted pyramid structure of a news report
Headline
• sums up the report
• catches the reader’s attention
Lead
• introductory paragraph
• most important information (who, what, when, where, how, why)
Body
• next most important information
• paragraphs are a mixture of facts, quotes
and background information
Tail
• least important
information
8 english alive 1
Headline is in
present tense.
Dramatic
words chosen
for maximum
impact on
reader.
Byline shows
journalist’s
name.
Lead
paragraph tells
who, what,
where and
when.
Body of news
report is in
past tense.
By Melanie Kirkwood
A fire in Highgrove Hill’s bush reserve
yesterday almost claimed the life of a
local homeless man. Swift action by
13-year-old Eagle Street High student
Damon Shore saved Albert Montgomery, 62, from being burnt alive.
The Sassafras Street teenager was
walking his dog in the reserve when he
saw the fire and heard the man’s
screams coming from the nearby bark
hut.
‘When I saw the fire, I called the fire
brigade on my mobile phone. Then I
realised someone was trapped in the
hut,’ recounted Damon, whose family
recently moved to Brisbane from Beauview, where his father was in the Rural
Fire Brigade.
‘It was pretty scary but I knew I had
to act fast. The flames were racing
towards the hut. There was a rock
blocking the door of the hut and I had
to roll that away first. I wet my T-shirt
and wrapped it over my head to stop
the smoke from suffocating me. I
dragged him out just as the hut burst
into flames.’
Damon was injured during the rescue
by a falling beam and was under
observation in Ridgewood Hospital
when this interview was conducted
earlier today. Fire Brigade officers commended Damon on his bravery and
quick thinking during the emergency.
Mr Montgomery was also hospitalised, after suffering smoke inhalation.
The cause of the fire has not yet been
established, but drier than usual conditions this summer have meant fire
danger has remained high. Police are
interviewing
three
local
youths
detained near the scene.
This fire was the latest in a series of
recent fires in the area, including the
suspected arson of buildings at Ridgewood Primary School in January.
Report
organised in
columns.
Short
paragraphs:
around
25–40 words
Other relev
but less
important
information in
the ‘tail’
CDthe R
OM
on
Quote from
person
involved in the
story
Teen hero saves
bagman in fire rescue
Headline —
main words
only, some
words left out
to capture the
reader’s
attention
Photograph
with caption
Firefighters were unable to save this hut in Highgrove Hill’s reserve.
unit 1 • Alive with . . . action 9
READING NEWSPAPER REPORTS
Understanding and knowing
News reports:
• tell essential facts in a
structured way: what
happened, when it
happened, where it
happened, who is
involved, how it
happened and why it
happened
• present information in
descending order of
importance, with the
important information
first followed by relev
additional information
• contain short
paragraphs and are
organised in columns
• present facts rather than
the writer’s opinions
about the event
• are usually about the
recent past
• use language that
conveys a sense of
action, urgency and
importance
• often include quotes or
statements by those
involved in the story,
eyewitnesses or experts
• often include
supporting photogr
or graphics with
explanatory captions.
1. Use the information in the news report to complete the following table.
What happened?
When did it happen?
Where did it happen?
Who did it?
How did it happen?
Why did it happen?
2. What less important information is in the ‘tail’ of this news report?
3. Who is quoted in the news report? Why is this person important?
Making meaning
4. What is a ‘bagman’? How is he referred to in the news report itself? Why does
the headline use the term ‘bagman’ instead of the description used in the
news report?
5. Which words in the headline present a positive view about the story to
readers? Do any words suggest a negative view?
6. At what audience do you think this news report is aimed? Explain your
answer.
Analysing and reflecting
7. Which aspect of the story gets the most space in the report? Why might this
be?
8. What other information would you like to know that is not included in the
report?
9. Whose version of the story is presented in this report? What sources might
the reporter have used in compiling the story?
WRITING AND RESPONDING TO TEXTS
10. Write two alternative headlines for the news report: one that is dramatic and
captures the action and one that does not.
11. Write the quote that Albert Montgomery might have given to the reporter if
he had been interviewed. Focus on the action from his point of view.
2
Order! Order!
12. Imagine you are the journalist who reported on the fire at Ridgewood Primary
School (referred to in the last paragraph of the news report on page 9). Draw
an inverted pyramid diagram similar to the one on page 8. Keep the bolded
headings but replace the dot point information underneath each heading
with the actual facts you gathered for the report.
13. Consider the headlines on page 8. Which is the most ‘gripping’ headline?
Describe the image you would use to go with each report. Write the story for
one of the headlines.
10 english alive 1
14. Use what you have learned about news reports to prepare your own frontpage story that describes the action in one of the images below. First, plan
your story using the inverted pyramid format.
✔ learning
I CAN:
understand the
structure of a news
report
write a news report.
unit 1 • Alive with . . . action 11
Reading and writing action in poetry
Like stories, poetry can capture action. It might be the simple action of a snowdrop falling or the complex action of a story or event. Action poetry sounds best
when it is read aloud. If you read aloud The Charge of the Light Brigade, you will be
struck by its rhythm; that is, the repeated pattern of strong and weak beats in each
line. The poet can achieve different rhythms by varying the number of syllables
and the pattern of beats in a line. This is achieved by a careful choice of words,
and it can create, for example, a skipping rhythm, a marching rhythm or, in the
case of The Charge of The Light Brigade, a riding rhythm. This poem was written by
Alfred, Lord Tennyson in 1864 about the suicidal charge of 600 British soldiers
against Russian forces in the 1854 Battle of Balaclava. The margin notes show the
techniques used by the poet to capture a sense of the action.
The Charge of the Light Brigade
Repetition creates
rhythmic action of
soldiers riding into battle
on horseback.
Pattern of one strong beat
(stressed syllable)
followed by two weak
beats (unstressed
syllables) creates ‘action’
rhythm; i.e. riding.
Note:
′ Strong beat (stressed
syllable)
˘ Weak beat (unstressed
syllable)
Lines that rhyme, used
with repetition of words,
continue the sense of
horsemen riding into
battle.
Compare this verse with
the structure of the fifth
verse.
Powerful verbs show the
beginning of the attack.
Sound and sight imagery
enables us to ‘see’ and
‘hear’ the battle.
Half a league, half a league,
Half a league onward,
All in the Valley of Death
Rode the six hundred.
′
′ Brigade!
˘ the˘ Light
˘ ˘
‘Forward,
′ for
′ he
˘ the
˘ guns!’
˘ said,
˘
Charge
′
′Into˘ the˘ Valley
′ ˘ of
˘ Death
′ the
′ ˘
˘ six˘ hundred.
Rode
‘Forward, the Light Brigade!’
Was there a man dismayed?
Not though the soldiers knew
Some one had blundered:
Theirs not to make reply,
Theirs not to reason why,
Theirs but to do and die:
Into the Valley of Death
Rode the six hundred.
Cannon to right of them,
Cannon to left of them,
Cannon in front of them
Volleyed and thundered:
Stormed at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hundred.
Flashed all their sabres bare,
Flashed as they turned in air
Sabring the gunners there,
Charging an army, while
All the world wondered:
Plunged in the battery-smoke
Right through the line they broke;
Cossack and Russian
Reeled from the sabre-stroke
Shattered and sundered.
Then they rode back, but not,
Not the six hundred.
Cannon to right of them,
Cannon to left of them,
Cannon behind them
Volleyed and thundered;
Stormed at with shot and shell,
While horse and hero fell,
They that had fought so well
Came through the jaws of Death,
Back from the mouth of hell,
All that was left of them,
Left of six hundred.
′ can
′ ˘ fade?
When
˘ their
˘ glory
˘
′O the
′
˘ wild
˘ charge they
˘ made!
˘
′All the˘ world
′
˘ wondered.
˘
′ ˘ the˘ charge
′ they
Honour
˘ made!
˘
′
′
˘ the˘ Light Brigade!
˘ ˘
Honour
′ ˘ six˘ hundred!
′ ˘
Noble
Alfred, Lord Tennyson
12 english alive 1
Powerful verbs show
the action of the battle
continuing.
These lines suggest the
outcome of t
a simple yet dramatic
way — compare with
the last line of the first
three verses.
Repetition of word
‘cannon’ creates sense
of soldiers totally
surrounded by t
and action of battle.
Contrasts the end of
the battle with the
beginning of it in the
third verse.
The result of the battle
charge and a change in
poet’s tone before the
last verse
Last verse shows action
is over but rhythm
remains the same.
READING POETRY TEXTS
Understanding and knowing
CDthe R
OM
on
Action poetry:
• is often based on a stor
or event
• uses repetition, rhyme
and rhythm (using a
pattern of strong and
weak beats) to capture
the action
• uses powerful verbs to
keep the action moving
• creates sight and sound
imagery so we can ‘see’
and ‘hear’ the action.
1. Find five ‘action’ verbs in the poem. Are these verbs in the past or present
tense? (See ‘Verbs’ in Wordsmith, page 5.)
2. Find the word sundered in the fourth verse. From the context clues (clues
provided by the words around it) decide which of the following meanings
might be correct:
(a) wounded (b) split (c) defeated (d) killed.
Making meaning
3. What do the lines Theirs not to make reply/Theirs not to reason why/Theirs but to
do or die suggest about the attitude of the soldiers to the orders they had been
given?
4. Give examples of lines in the poem that show the poet’s attitude towards the
soldiers and their actions.
Analysing and reflecting
5. As a class, discuss (a) the soldiers’ obedience to orders and (b) the leaders who
gave them those orders. Do you think these events could still happen in
modern warfare?
6. Were these men heroes? Justify your answer with evidence from the poem and
from your own opinion. You can begin by compiling a list of the qualities you
think a hero should have to guide your answer.
3
Be the Bard
✔ learning
I CAN:
understand the
importance of rhythm
in action poetry
discuss the nature of
heroism in battle.
WRITING AND RESPONDING TO TEXTS
7. Imagine you are one of the survivors of the Charge of the Light Brigade. Write
a journal entry or a letter home to loved ones describing your feelings and
experiences, before, during and after the charge.
8. Write a verse of six lines to describe the scene shown in the painting of the
Battle of Balaclava. Use the same rhythmic pattern of a strong beat followed by
two weak beats in each line. For example:
′
′ and
′
Comrades,
come
˘
˘ here
˘ defend
˘ ′ our˘ good
˘ land
′
′
′
′
Hearts
must
be
brave,
we
may
die
in
the
sand
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unit 1 • Alive with . . . action 13
Viewing action in films
The blockbuster action movie seems to dominate our cinema screens. Special computergenerated effects allow film-makers to create
bigger and better action sequences to keep
audiences on the edge of their seats and with
their hearts in their mouths. Car chases and
crashes are more spectacular, rescue sequences
from flaming skyscrapers are more dramatic,
and action heroes and villains exhibit
thrilling powers greater than we have ever
seen before.
The appeal of the action hero for audiences
never seems to fade. Yesterday’s movie action
heroes had only their own physical abilities (or
those of their stunt doubles) to rely on. But
because current computer technology is so
sophisticated, today’s audiences have come to
expect much more of their action heroes than
movie-goers of your grandparents’
or parents’ generation. Compare the
1942 black-and-white film The
Mummy’s Tomb with the computer
enhanced action sequence from the
2001 The Mummy Returns. The
‘mummy’ themes may be similar, but
what a world of difference in production
techniques in 60 years!
Film still from
The Mummy’s Tomb, 1942
Film still from
The Mummy Returns, 2001
14 english alive 1
Film techniques
A film is a narrative — just like a novel. Film scripts are often
based on a novel or, in the case of films featuring Spiderman,
Zorro, Catwoman or Superman, a comic book. The filmmaker adds production techniques to the narrative to create
what we finally see on screen. Whereas a reader brings his or
her own imagination to the writer’s words to ‘see’ the action
in a novel, the viewer of a film physically sees the results of
the director’s imagination on screen.
Visual techniques involve those elements you see in a
film — camera shots, camera angles, lighting and special
visual effects. This can also include costuming and the sets
used in the film.
Sound effects include everything you hear in a film —
dialogue between characters, voice-overs, the musical
score, background noises like traffic, and special sound
effects.
All these visual techniques and sound effects have an
impact on the telling of the story. They also influence
how the viewer responds to the film. Imagine an action
film, for example, with a soft, romantic musical score
and no dramatic visual effects — it would be a boxoffice flop!
Visual techniques
In traditional film-making, camera shots and camera angles are two key
visual techniques that affect mood, meaning and pace. Without changes
in camera shots and angles, a film may become very static and slow.
Even in a computer-generated animated film (made without cameras at
all) the producers still vary
the ‘shots and angles’: in
Shrek, for example, we are
shown the characters in closeup, from a distance, from
above and so on. In both traditional and CGI film-making,
the same terms are used. (For
more information on shots
and angles, see page 17.)
The close-up shot from
Spiderman 2 on the left suggests to the viewer a sense of
danger and urgency. The use
of an eye-level angle gives the
impression that the viewer is
on the same level as the figure
or subject and is therefore
part of the action.
unit 1 • Alive with . . . action 15
The following stills from the film Spiderman 2 show how camera shots and
angles help portray the action with the help of computer technology.
Detailed background
visible around Spiderman
emphasises the magnitude
of his powers.
In this long shot,
Spiderman is seen in
recognisable detail.
Spiderman is shown in full
athletic action with limbs
extended. He is a ‘larger
than life’ character.
Computer technology is
used to create the shot. This
is not a ‘real-life’ event.
Low-angle shot creates a
sense of awe in the viewer
as we witness Spiderman’s
physical abilities.
Spiderman answers the call to help those in danger from Doctor Octopus, using his special powers to
speed to the scene of the danger.
Full shot focuses on the
figure of Spiderman.
Background is less
important. Doctor
Octopus is not yet visible,
therefore building
expectation of
confrontation to come.
Eye-level shot shows
Spiderman front-on
moving towards the
viewer who feels part of
the scene/action.
Sharp focus on Spiderman
and blurred focus on train
shows speed and drama of
situation.
Computer technology and
traditional camera
technology have been
used to create this shot.
Spiderman has landed on the side of the hurtling train as he prepares to rescue the passengers from
Doctor Octopus’ evil actions.
16 english alive 1
Another long shot — we
see both figures in full,
with detailed background
of train below and
surrounding buildings to
heighten viewers’
perspective on the setting
for the confrontation.
Theme is a simple one of
good versus evil.
Angle is eye level to enable
viewer to feel closely
involved in the action.
Characters drive the action
with their unique powers.
CDthe R
OM
on
Computer technology
combined with film enable
the action and setting to
appear real.
Spiderman engages his powerful adversary, Doctor Octopus, as the train hurtles onwards.
Camera shots
Tracking or dolly shot
A shot in which the camera moves along, following the action.
Long shot
Shows figures and subjects at full height with detailed background above, below and
beside them.
Full shot
The figure or subject is shown fully but with very little background visible. This shot is
often used to show the relationship between the characters in the shot.
Medium shot
Frames the figure from the knees or waist up. This shot is useful for dialogue between
characters and to show their body language.
Close-up
Shows detailed facial expressions or details of the subject with almost no background
visible in the frame. This shot may help reveal thoughts and feelings of the characters.
Extreme close-up
Shows a specific detail of a figure or subject in a single camera frame. This shot may
show suspense, tension or create a mood.
Camera angles
Aerial or bird’s eye
The camera is directly above looking down on the figure or subject of the frame.
High angle
This shot is taken from above the figure or subject but not directly above. This can
create a sense of threat, weakness or lack of control.
Eye level
This front-on shot gives a sense that the viewer is directly opposite the figure
or subject, on the same level. This shot has a ‘real-life’ effect.
Low angle
This shot is taken from below the figure or subject. It can convey dominance, power or
control.
unit 1 • Alive with . . . action 17
READING ACTION SEQUENCES IN FILM
Understanding and knowing
Action films:
• tell a story that is often
incredible
• often have ‘larger than
life’ characters who do
not develop or change
much by the end of the
film because the
emphasis is on action
• often have characters
who draw on t
talents or unique power
to drive the action
• generally have simple
messages or themes
such as good versus e
honesty versus
deception, right versus
wrong
• use many camera ang
and camera shots to
create the ‘action’ effect
• use symbols, lighting
and music to enhance
mood and meaning
• often rely on special
effects created by
computer technology.
18 english alive 1
1. What special talents or unique powers do (a) Spiderman and (b) Doctor
Octopus have?
2. Is it possible to tell from the images on pages 16–17 who is the ‘good guy’ and
who is the ‘bad guy’? (Hint: the colour of their costumes might be one
indication.)
3. Why are eye-level angles used in these images?
4. Why aren’t close-up shots used very much in action sequences in films?
Making meaning
5. Which of the following sound effects would you choose for the action
sequence from Spiderman 2? Justify your choice.
(a) Loud, dramatic music with drums and cymbals clashing
(b) Music that builds from a soft violin to a full orchestra, then rises to a
crescendo
(c) Background, everyday noises like traffic
(d) The noise of people screaming in fear and panic
(e) The noise of rushing wind
6. What lighting would you suggest for these scenes?
7. Choose one of the stills on pages 16–17 and draw it from another angle, using
a different type of shot. How might this affect the ‘action’ nature of it when
filmed?
8. The shot shown below might follow the sequence of shots on pages 16–17.
(a) Write a caption to describe the action in this shot.
(b) What type of shot has been used and why do you think the director chose
this type of shot?
(c) What angle has the director
used in this shot and why
might this particular angle
have been used?
(d) How important is
Spiderman’s costume? How
does it represent or
symbolise his special powers?
What other symbolism is
used in this shot?
(e) When do you think a
director might use a closeup or an extreme close-up
shot in Spiderman 2? When
might a tracking shot be
used?
(f) Draw or describe in words
the next shot that might
follow this one. Consider
shot type, shot angle,
symbols used and lighting
and how you would
maximise its ‘action’ effect.
Analysing and reflecting
CDthe R
OM
on
9. Do the characters in these images appear to be relying on their physical or
mental abilities? Explain your answer. Thinking of other action films you
know, would you consider the same to be true of those films?
10. Why do you think action movies often simplify their message in terms of
good or evil? Is real life as simple as it is portrayed in action movies like
Spiderman 2? Why or why not?
WRITING AND RESPONDING TO TEXTS
4
5
Storyboard
an action
sequence
Viewing
Spiderman
✔ learning
I CAN:
understand how film
techniques are used to
create mood and
meaning
interpret stills from
action films.
11. Which of these scenarios would best lend themselves to an action film? Justify
your choice.
(a) The personal struggles and emotions of a homeless teenager
(b) The story of two young lovers separated by circumstances
(c) A detective hunting down a fugitive from a jewel robbery
(d) A young mother trying to find a cure for her child’s serious illness
(e) A secret agent racing against time to prevent an assassin from killing a
national leader
12. View the film Spiderman 2 and write a brief review of its worth as an action
film. Use the features listed in the dot points on page 18 as a guide to what to
cover.
13. Action films are often regarded as films that are preferred by males rather than
females. Would you agree with this? Why or why not?
14. Conduct a survey of your classmates’ favourite action films. List the top five
titles overall. If you are in a coeducational class, create a top five for the girls
and another for the boys. Is there a difference?
S
o that’s action — you’ll find it wherever there are stories
to be told and characters to take part, either fictional or real.
Action writing in literary text types, such as novels, plays and
poems, is creative writing. Therefore, you are free to bend the
rules of grammar and the conventions of a particular text type. In
everyday text types such as news reports it is necessary to follow
the rules more closely. But it is always important to know the
rules that you are bending and to make choices to suit the effects
you want to create. Don’t be afraid to experiment with action
writing; the more you do it, the better you’ll become. Study how
others do it. Perhaps read the suggested authors at the end of this
unit, read the daily newspapers and look at action photos. Who
knows, you might become an investigative reporter or sports
photographer. Perhaps you’ll write the next big blockbuster novel
or film script. Even if you don’t, your reading and writing will
improve by leaps and bounds!
unit 1 • Alive with . . . action 19
You have been transported back in
time to 202 BC. You find yourself
field reporter to the Roman General
Scipio. The Second Punic War is in
progress, specifically the campaign
against Hannibal at Zama in ancient
Carthage. You are equipped with a
micro-laptop and digital camera
from your own time, and somehow
these magically work! General Scipio
is relying on you to capture the
action and record Rome’s glorious
victory for all its citizens.
General Scipio has requested that
you come up with one of the
following:
• A short creative story showing the
bravery of Roman troops in battle.
He has stressed that you are to use
your imagination here, making the
action as vivid as possible and
centring it around one or two main
characters. General Scipio should
be one of them.
• A news report of the victory against
Hannibal at Zama. The headline
must capture the excitement of the
action and the body of the report
should include eyewitness
accounts. (Your laptop will be
useful for either of these tasks.)
• Ideas for a series of four paintings
of the campaign. General Scipio
intends to have an artist create
these after the war is over. You
must suggest the content and
composition of the paintings so
that the artist can capture the
spirited action of the battle. You
can sketch your proposal but you
must also give a brief description
in words. (Your digital camera will
come in handy here to capture
battle scenes.)
20 english alive 1
0
150
300 km
G A U L
N
River Rhôn
e
Action packed!
ALPS
Trebia 218 BC
SPA IN
Rome
Battle site
Cannae
216 BC
Carthaginia
Hannibal’s route in
the Second Punic War
Lake Trasimene
217 BC
Zama
202 BC
Scipio’s rapid rise to the top
Publius Cornelius Scipio has had a dramatic rise to the top. He was only
25 when appointed as a general. His impressive career is briefly sketched
below:
• First task — make Rome powerful in Spain again
• Captured Spanish town of New Carthage in 209 BC
• Defeated Hannibal’s two brothers, who held most of Spain, in 206 BC
• Appointed Consul in 205 BC
• Invaded Africa in 203 BC and established control
• Defeated Hannibal at Zama in 202 BC after Hannibal returned there.
but . . .
Unbeknownst to the Roman Emperor
and General Scipio, Hannibal has
met with you to ask you to write a
piece of poetry in honour of his
elephants, who played a key role in
the battle. The form of the poem is
up to you, although Hannibal
prefers it to capture the action
through rhythm and rhyme. Since
you are freelance, and since
Hannibal was very persuasive, you
have accepted this commission
but you will have to keep it secret
from General Scipio if you value
your life. To help you, Hannibal
has given you his field journal.
Weblinks for further
research
6
Fighting
with
elephants
Unit 1
By some magical means, you
still have access to the twentyfirst century Internet through
your micro laptop, so if you
need to do some background
research, you can visit
www.jaconline.com.au/
englishalive/ea1
and click on the Battle of Zama
weblinks.
Zama — n
ightfall, 20
The battle to
2 BC
day was mig
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ndred of my
50 000 foot
finest beasts,
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9
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horses met th
had: 40 000
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was to relea
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always,
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enemy. The
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enemy’s stra
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to terrify the
tegy was to
beasts with
target the dri
a hail of arr
ve
rs of my
ows and spea
rs.
My elephants
made the ch
arge but wer
by the Roma
e in their tu
n trumpeters,
rn terrified
who blasted
sound. By th
fo
rth a cacoph
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by this. Som
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were derange
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and stamped
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But I do not
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each of them
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arm. Equall
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unit 1 • Alive with . . . action 21
Key terms
CGI: computer-generated
imagery; the use of 3D computer
graphics and technology in filmmaking
everyday texts: non-literary texts
that people may encounter in the
course of daily life; for example, a
bus timetable, newspaper or
instruction manual
mass media: forms of
communication, such as radio,
television, newspapers and
magazines, that reach large
numbers of people
narrative: a written or spoken
text type that tells a story using an
orientation, one or more
complications, a sequence of
events, a climax or resolution and
sometimes a moral
point of view: the perspective
from which a story is told. To
determine point of view we
must ask: ‘Whose eyes are we
seeing through? Who is telling the
story?’ The point of view will
determine how the writer
depicts the scene or events and
the way the reader responds or
reacts.
print media: a form of
communication that is printed on
paper; for example, newspapers
and magazines
proverb: a short, popular, wise
saying that has been used by
people for a long time
single-frame visual text: visual
information that consists of one
image or picture; for example, a
photograph, cartoon, diagram or
poster
22 english alive 1
syllable: part of a word which
consists of a vowel sound and
possibly consonant sounds
around the vowel; for example,
the word ‘along’ has two syllables
(a-long); ‘wonderful’ has three
(won-der-ful).
The Destruction of Sennacherib
by Lord Byron
visual text: a text constructed
using visual images rather than
words; for example, a film
Spiderman and Spiderman 2, Sony
Word list
Word
Alternatives
brave
courageous, fearless,
heroic
cacophony
din
collapse
crumple, subside
comrade
friend, mate, partner
enemy
foe, opponent,
antagonist
exhausted
fatigued, weakened,
wearied
falter
waver
frantic
frenzied
stalwart
trusty, valiant
strategy
plan
The Man from Snowy River
by A. B. (Banjo) Paterson
Films
Braveheart, 20th Century Fox
The Mummy’s Tomb, Universal
Studios
The Mummy Returns, Universal
Studios
Troy, Warner Brothers
X-Men, 20th Century Fox
Connections
Narratives: see pages 24–5,
28–9, 54–7, 72–3, 94–5, 112–13,
136–9, 167–73, 181–5
Photographs: see pages 83–5,
88, 98–9, 157
Poetry: see pages 116–18, 159–60
On the Web
Go to www.jaconline.com.au/
englishalive/ea1 and click on
the following weblinks:
Try these
The Battle of Zama
Novels
The Battle of Balaclava
Heros Nomad by Dan Ashlin, John
Wiley & Sons
Supernerd by Casey Lever, John
Wiley & Sons
The Bourne Supremacy by Robert
Ludlum, Bantam Books
Poetry
How McDougal Topped the Score
by Thomas E. Spencer
How They Brought the Good News
from Ghent to Aix by Robert
Browning
The Battle of Thermopylae
On the CD-ROM
Grammar (verbs): get a grip on
grammar (see page 5)
Jabberwocky Jumble: weave
words into verse (see page 13)
MeZine: make your own minimag (see pages 9, 19)
Script Scriber: get set to
scriptwrite (see page 17)
Story Spinner: spin your own
story (see page 4)