Visual Text Study Gallipoli

NCEA LEVEL ONE ENGLISH

Visual Text Study Gallipoli

BACKGROUND NOTESFOR TEACHING.SETTING

The social, geographical and historical setting of the film Gallipoli

It will all be over by Christmas.Australia became a nation with the signing of its constitution at the Exhibition Building in Melbourne on 1 January 1901.

Only a few short years later in August 1914, after a period of great tension and upheaval in Europe, Great Britain declared war on Germany. Unlike today, most Australians felt they were more British than Australian. Because of this loyalty, the man who was to become Australias next Prime Minister, Andrew Fisher, promised that Australia will stand by to defend (Great Britain) to our last man and our last shilling.

Men rushed to join the long queues at army barracks around Australia. All had different reasons for wanting to enlist. Many believed they had no choice but to protect England from invasion. Others thought it was a once in a lifetime opportunity to travel. And many just didnt want to miss out on something so exciting. Dont worry, they told their mothers, wives and girlfriends. It will all be over by Christmas. The first ships that took the soldiers off to war were filled to overflowing. Many of the men were from the country and some had never seen the ocean before. But they soon became used to it, as they spent many weeks at sea. When they finally reached land, many were disappointed they were not in England. The Generals had decided there were already too many soldiers in the British training camps, so the Australians were sent to Egypt, where they finished their training.

The Generals had also decided that these soldiers needed a name. They were to be known as the Australian and New Zealand Army Corps, or ANZACs.

Turkey (then called the Ottoman Empire) was on the side of Germany in the First World War. The British Generals decided they could defeat Turkey if they could capture the capital city called Istanbul (then called Constantinople).

After the Turks sank several British and French ships in the Dardanelles, it was decided that the only way to capture Constantinople would be to land soldiers near a place called Gallipoli. The closest soldiers were the ANZACs, who had completed their training in Egypt. The Australians were getting restless, and after coming all this way they wanted to see how good they were in battle. They were soon to get their chance.Every Man A VolunteerThe exhortations and inducements used in Australia to persuade men to enlist were as old as the oldest society- the communitys safety is at stake; your families are in peril; your religion is being derided, and so on. There was the added spur of mockery, overt or implied-a child asking, What did you do in the War, Daddy?; a strong-featured woman asking her man, Will you go or must I? By 1915 the art of poster propaganda was very well developed and worldwide, and outside the pornography of painted violence the themes were much the same whatever the nation. Our men were always firm-jawed and heroic, Theirs were fiercely evil and generally unshaven. The summarily pointing or beckoning finger was a universal symbol.Perhaps it was because the battlefields of Europe were so distant, perhaps because the lure of England as Home was so strong that there entered into the early phase of recruitment in Australia an element of huckstering. It was as though a cheapjack travel agent was at work to persuade young men to seize their chance. The long casualty lists from the Dardanelles and the disasters of France and Flanders were yet to come; in the days before the end at Gallipoli, there was a fairground atmosphere about the urging to join for The Greatest Show on Earth.To some extent it was true. It was exciting. The bands filling the streets with colour and cadence, the sense of swagger about the men already in uniform all laid the groundwork for a widespread and very successful advertising campaign, certainly the best of its time. The campaigns theme was elemental and almost irresistible; the product offered free travel, excitement and a spice of danger and implied a just and rightful victory and the rewards that would follow. To ignore such a campaign could mean ostracism; to accept the challenge was to snatch at the chance of a lifetime.

Time-Life Australia Pty Ltd 1998 (from the series Australians at War) ANZAC forces were involved in operations in three main geographical areas during World War 1. Those areas are depicted on the map below.

The Gallipoli Campaign

The Gallipoli campaign marked the first time that Australians went into combat as Australians. The term ANZAC originated from that time and ANZAC Day, arguably Australias most significant national holiday, occurs annually on 25th April, the date of the start of the Gallipoli campaign.

Structure of the FilmGallipoli is roughly divided into three parts. The first third is set in Western Australia in May 1915 as the first news of the Gallipoli landings is published, the second third is set in Egypt where the troops are in training, and the final third at Gallipoli the Battle of the Nek only occupies the final minutes of the film. All of the parts have a similar setting the desert, though in two different parts of the world. Therefore, the backdrop colours of the film are predominantly sand and blue adding to a feeling of space. Repeated Sequence:

First and last sequence of the film mirror each other. Both are focused Archie, about to run a race. Uncle Jacks chant is recited. There is a whistle to start the race. There is the sound of Archies fast breathing as he runs against time, and the sound of feet on the earth. Yet the first race is hopeful and triumphant, whereas the last race is ominous. The freeze frame is the exact opposite of the motion of the running image, and is a shock to the audience. A waste of life.

Cross-cutting:

This is where the shots cut between two or more places at the same chronological time. At the end, we see Frank trying to run between the groups of troops with messages because the field phones do not work. His message is vital; Major Barton needs to let the British know that the diversion is not necessary as the troops have already safely landed, but the Commander rejects this, and Frank races between them across the firing line, risking his life. (Music is Oxygene which we associate with the running of races.)

At the very same time we see shots (mid and close up) the Australians in their trench, preparing to die leaving their wedding rings, and other precious personal tokens, on their personal belongings in the trench for their families at home. (Music is Albanonis Adagio which we associate with dread and imminent danger.)

The shots flick between these two scenes, and create a feeling of extreme tension and urgency will Frank make it in time, will the men be told not to go over the top in time

When Frank hears the whistle, as he is trying to reach Major Barton to tell him to hold it, he screams Noooooo! This is the moment of tragedy for him - he has not succeeded in saving others and this highlights the change in Frank, who used to think only of himself (an opportunist). Then, we cut again to Archie, running, to his moment of tragedy.

All of this clever editing of the film creates huge suspense and pressure, much more so than if we had only seen Archie preparing for his death without Frank trying to stop it. There would have been a sense of dread, but not the suspense of running against time to stop the waste of life. This cross- cutting builds up to the final terrible climax of the ending.CharacterisationThe two main characters are a contrast to each other in background, attitude and appearance. Yet they become mates and complement each other. Each takes on some of the others qualities and grows as a character.The first third of the movie shows how the two characters meet, and are drawn into the war. Archie's path stems from naivety. This naivety is shown in a very unique way. Rather than show this naivety by contrasting Archie with a highly educated character, Director Peter Weir shows it with a character who demonstrates ignorance and may yet be the voice of true logic. The character is an old camel driver that Archie and Frank meet by chance in the Australian desert:

Archie) I'm off to the war Old man) What war? Archie) The war against Germany. Old man) I knew a German once. Old man) How did it start? Frank) Don't start him.Archie) Don't know exactly, but it was the German's fault. Old man) The Australians fighting already? Archie) Yeah, in Turkey Old man) Turkey? Why's that? Frank) Ask himArchie) Because Turkey is a German ally. Old man) Oh, well, you learn something new everyday. Still, can't see what it's got to do with us. Archie) If we don't stop them there, they could end up here. Old man - Looks over the Australian desert) And they're welcome to it. Frank originally has no intention to enlist. This is first obvious the first time he appears in the film with his three friends, who are reading about the war

Count me in. Come on, Frank, you gotta be in it.

Frank: (Sighs) No thanks, if you blokes all want to go get yourselves shot,go ahead.

Snow: Well, I'm not scared to die for my country, Frank.

Frank:Good for you, Snowy, sign yourself on.

(from the film script.)

so he tells his friends that he will not go to war. But on consideration that girls express their affection for the brave soldiers, he thinks it may not be such a bad idea. This again is a contrast, because Archie is very inexperienced with women, as one scene shows when the two reach a sheep station after their trek to Perth, and Frank is the suave sophisticate who models how to behave in the company of girls.Secondary Characters:

Note that Uncle Jack (in the first part of the film) and Major Barton (in the last part of the film) play the wiser, older man, like a father figure who seems stern, yet has a great understanding of how younger men feel - their hopes and dreams, and their need for support. Both of these men give Archie someone to regard as a role model and each of them blows a whistle that makes Archie run his fastest to do his best for them. They serve as a foil to emphasise the youthfulness of Archie and Frank and other young men, and each knows of the harshness of life. Archie: Peter Trevelyan joined up last week.

Uncle Frank: No more of that. You're underage.

A: - You ran away when you were younger. F: Not to a war.

A: Been all round the world by the time you were 17.

- Barbary Coast... Spice Islands.

F: I made those stories up.

A: You didn't. Dad said you were nearly killed several

times.

F: I judged the risks and took my chances. War's

different.

A: - How's it... F: - It's just different. There's no hope your parents would let you go, so what's the point in talking

about it?

A: I thought you might help me.

And at the officers dance when Frank and Archie sneak in pretending to have to deliver a message to Major Barton, he catches them out and says:Major Barton: (to a soldier on duty at the dance) Would you mind telling Dunne that this is a dance for officers only?

Major Barton: (calling Archie by his false name, which he suspects is not his real name, but has chosen to let pass) Lasalles!.... Have one or two drinks before you go.

Archie: Sir!Frank: (to Archie, as they hold up their drinks) Cheers!Both of these older men realise that the younger men are facing terrible dangers without realising the extent of what life is to present them with, and bring to our attention the theme of the waste of young life/ the futility of war.Themes A major theme of the film is loss of innocence and coming of age of Archie and Frank, and of the Australian soldiers and their country. Actor Mel Gibson commented, Gallipoli was the birth of a nation. It was the shattering of a dream for Australia. They had banded together to fight the Hun and died by the thousands in a dirty little trench war."

The film draws a parallel between sport and warfare, with a recruiter for the Light Horse at the Kimberley Gift race calling war "the greatest game of them all." There is irony and bitterness in this, when the actual ending of the film is considered. Another theme relevant to the visual text is the theme of waste of potential. In the opening scene of the movie we see Archie performing his pre-race routine. He then proceeds to perform the 100 yard dash which he does in near-record time. In the final scene of the movie we see Archie in the trenches at Gallipoli. The whistle for them to go 'over the top' is about to be blown and Archie is leaving some sentimental items in the trench; a medal and watch. The medal is symbolic of Archie's potential, what he could've been in life. The watch is symbolic that time has 'run out' for Archie. He then performs his pre-race routine once again, a direct link to the opening scene, and the whistle is blown. This next scene depicts Archie running weaponless through the battlefield. This run is of course metaphorical and is again shows what Archie could have been. Finally Archie is shot and there is an 8-second freeze frame. It appears as though Archie is breasting tape. Another theme in the film is that of friendship. Archie and Frank are opposite in many ways one is a city boy, and the other a country boy. One is a worldly-wise fast-talker, the other is practical and capable. One is cynical, the other is idealistic. One is vain and an opportunist risk-taker, who is quite selfish, and the other is modest, disciplined and used to being part of a team. Their physical appearance has even been portrayed as opposite one is fair, the other dark.

Yet they are both talented runners, which unites them. Eventually, through the shared experiences that become friendship, they complement each other. They have the shared talk which they often repeat, that friends have such as:

See you when I see you.

Not if I see you first!

By the end of the film, Frank takes huge risks to his own life to help save Archie, and Archie comforts Frank who is terrified Come on! No Turks going to waste a bullet on you! They demonstrate how friendship grows even in the most unlikely situations, through shared experiences and adversity.Quoted from http://www.ozcinema.com/reviews/g/gallipoli.html :

Another aspect of the national myth brought to the fore is the concept of mateship. The mysterious force that bonds Australians together in times of need is ever-present in the incessant peer pressure exerted by Frank's friends. Visually, it is best summarised in the arduous journey in which Archy and Frank embark across a desert stretch. Using the 2.35:1 aspect ratio to his full advantage, Weir created a sense of isolation between Frank, the city-slicker, and Archy, the country-boy. While capturing the vast, desolate expanse of desert in a magnificent homage to nature, Weir positioned Archy and Frank at extreme opposite ends of the frame. Over time, though, as social barriers are broken down, and the urgency of the situation escalates, the gap between the two closes.Techniques which highlight theme:

Themes: Loss of Innocence and Waste of Life/Futility. (These are Symbolic reference from literature: The Jungle Book story suggests the idea of moving into the world of men, which Archie is ready to do. An early scene in the film depicts Uncle Jack reading from The Jungle Book about how Mowgli has reached manhood and now must leave the family.At the start of the film, Uncle Jack reads The Jungle Book to the younger children of the family, when Archy walks up and listens at the door. A passage where Mowgli reaches manhood, loses his innocence, and must leave the family of wolves that raised him is given particular prominence. It parallels what Archie is about to do, and has a sense of irony. (From the script of the film)

"The fire was burning furiously at the end of the branch.

"Mowgli struck right and left and the wolves ran howling

"with the sparks burning their fur.

"At last there were only Akela, Bagheera,

"and perhaps ten wolves that had taken Mowgli's part.

"Then something began to hurt Mowgli inside him

"as he'd never been hurt in his life before.

"And he caught his breath and sobbed.

"And the tears ran down his face.

"'What is it? What is it? ' he said.

"'I do not wish to leave the jungle, and I do not know what this is.

"'Am I dying, Bagheera? '

"'No, little brother,' said Bagheera.

"'Those are only tears, such as men use.

"'Now, I know thou art a man and a man's cub no longer.

"'Let them fall, Mowgli.

"'They are only tears.'

"So Mowgli sat and cried as though his heart would break,

"and he'd never cried in all his life before.

"'Now... ', he said.

"'I will go to men."'

(Theme of loss of innocence/becoming a man.)

Archy, in particular, is driven by the desire to prove that he is indeed a man. Knowing that his metamorphosis would be complete only after he's accepted into the military force, Archy sets his mind on doing just that. This theme forms a motif throughout the picture that is seen clearly when Frank attempts to give Archy a fake beard. His uncle, too, helps shape Archy's destiny in regards to his decision to enlist since he himself joined the army and experienced adventure in foreign lands while officially under-age. The motif is continued in the uncle's reading of Kipling's The Jungle Book in which he describes Mowgli's transformation into a man.Contrast: Uncle Jacks mentoring, calm, worldly wise, older figure, vs Archies restless youthfulness, his hero LaSalles the sprinter, his books about the world.

Contrast: Archies integrity vs the jeering stockman Les ( in the first race in the film).

Contrast: Archies humble, friendly attitude to winning the first race against Frank, vs Franks arrogance in defeat.

Contrast: Archies personality and looks vs Franks to highlight their differences to be overcome, so that they complement each other as they become friends. (Friendship theme).

Symbolic image: moving away from home, with suitcase, on a journey of life- Archies conversation with Uncle Jack at the end of the race meeting his heavy suitcase full of books (Archie is the idealist, with dreams of a big future, going to war). The suitcase image is repeated as Archie and Frank cross the desert to Perth, each with his suitcase, on a journey of life.Symbolism: The medal Archie wins a medal at the local running race meeting, at the start of the film. At the end of the film, he takes it out and hangs it on his knife, knowing he is about to die and leaving it for those at home (overtones of Uncle Frank here.) The medal emphasises the waste of life and potential that the film makes us think about. (Waste of life theme.)Symbolism:

The promise of adventure in far-off, exotic lands is also indicated throughout the film. Perhaps the most memorable image of this is the wheeling in of a giant wooden horse in order to lure people into enlisting in the light horse brigade. Like the Trojan horse from Greek mythology, this "gift" is seen as a sign of adventure, wealth (of spirit) and the grand nature of war. Behind its confident faade, however, is a trap. Just as the city of Troy was destroyed after its citizens embraced the Trojan horse, its reappearance in Western Australia can be seen as powerful foreshadow of the tragic fate that will meet these men. Interestingly, though, the men are still entranced by the glory of war as their boats slowly drifted in towards a hillside of Gallipoli, lit up like a Christmas tree.Symbolism used: The repeated running motif links Archies and Franks journey together. It is how they meet, and how their journey ends. The spirit of the running changes; it starts as a friendly rivalry and game (at the same time as the war is still an adventure and a game to the young men) and ends as Frank runs to save Archie and the other soldiers lives, and as Archie runs literally for his life to his death. Shot transitions: Shot of map in the newspaper after the Mowgli story note that Archie studies one of the Gallipoli area, which then transitions into the same map being studied by Franks friend Wilkes, at their railway works campsite. This is the first link of the connection between Frank and Archie; it flows in a subtle way and is coincidental, but significant. It is like an omen of what their destination will be their coming of age and loss of innocence. Recurring Motif: A running race, set to the same musical theme Oxygene, and sometimes preceded by Uncle Jacks chant.

The Repeated Motif of Running as in a race against time.

A sub-text of the film is of "war as a game" and the two main characters, Archy Hamilton (played by Mark Lee) and Frank Dunne Judd (Mel Gibson), meet at an athletics carnival. Both are sprinters and the numerous running sequences in the film are set to Jean Michel Jarre's Oxygne. This music highlights the running by its rapid heart-beat rhythm, and the feeling of echoing across wide open space, which is where much of the running takes place.

The opening shot of the film is of Uncle Jack and Archie training for a local race:

Uncle Archie:

Deeper.

Come on, deeper, deeper.

Come on, deeper. Come on, deeper, deeper.

From here, boy, here!

That's it.

Now, loosen up.

Come on, loosen up.

Come on, boy, loosen 'em up.

That's it. Now, on the spot. One, two! One, two! One, two!

- What are your legs? Archie: Springs. Steel springs.

- What are they going to do? Archie: Hurl me down the track.

- How fast can you run? Archie: As fast as a leopard.

- How fast will you run? Archie: As fast as a leopard.

Then let's see you do it. Are you ready, leopard?

On your mark!

Get set!

This is a motivational chant Uncle Jacks What are your legs? etc. This chant recurs later in the film, when Archie has to psyche himself up like an athlete about to go over the top to his last race. Effect: This has a very poignant effect, as it makes it so clear to the viewer that Archie is thinking about what he has left behind, and which he senses he will never see again. There is pain and sadness in that moment if the film, but also huge courage, as Archie and his fellow soldiers know they are going to their death, but face it.

This running motif is symbolic on various levels.: It represents the strength and vigour of youth, overcoming obstacles and competition.

It represents a race against time, into the future. Running into lifes challenges. It represents the (futile) race against time running out and death waiting (in the Battle of the Nek and, possibly, all battles that are a part of war). (This connects the loss of innocence theme with the theme of waste of life, and futility.)Music

The most striking feature of the soundtrack is the use of musical excerpts from electronically synthesised Oxygne by French electronic music pioneer Jean Michel Jarre. This music is set to scenes of open space and running races, which it suits, with its fast heart-beat rhythm and echoing eery tones which sound like wind whooshing past as it would during running. It has the right sort of energy that fits with the young characters of Frank and Archie.Quiet or sombre moments at Gallipoli, and the closing credits, feature the Adagio in G minor, by Albanoni. It is slow, dignified orchestral music featuring mainly stringed instruments, and filled with a sort of dread and grieving. It is introduced in the scene where the soldiers are ferried to the beach which is to be the scene of battle, and also when Archie visits Snow who is obviously dying from his wounds. This music is very emotionally charged, and lets us feel some of the fear that must have filled the hearts of the young men.Camera Technique: The 8-second freeze frame that signals the end of the film is shocking to the audience in its finality, and symbolises youth cut off at its peak, as Archie is seen from a slightly low angle, arched at the peak of his stride, yet cut down.

Effect: There is a poignancy, a sharp sadness, in this final sequence, about the fact that once the young men were carefree, strong and adventurous, and had their whole lives ahead of them. By the end of the film, they are facing certain death. This waste of young lives is obvious to the viewer, yet we realise there is no turning back or saving the men. There is a suggestion of the symbolic sacrificial crucifixion pose in this last shot.

Low Angle Shots holding the camera just below the characters eye level, as above, giving extra feeling of vastness and space to the background. The horizon is lifted and there seems to be a huge area to climb. It uses the rule of thirds where the horizon is never directly in the middle of a shot, (note this hardly happens in life or in films) but always one third of the way from the top or bottom of a shot.

There are a number of striking desert shots where this is done in the first third of the film when the two cross the western desert to Perth, and in the Egypt sequence, to link the idea of vastness of space, and the immense challenge to be faced, metaphorically man against the odds.Camera Techniques to enhance setting: (linking with theme)

In contrasting the isolated and personal elements of Australia with the hard-edged reality of war in Gallipoli, Weir utilised a number of cinematic techniques. Most notably, the majority of the Australian scenes are shot with a tighter lens than those in Gallipoli, indicating that once the men found their way to war, they became little more than numbers human ammunition. He also draws visual comparisons between the sparse, lifeless deserts of Australia and those of Egypt and, in doing so, suggests that these men's struggle is thoughtless and insignificant in the greater scheme of things. The pyramids, "man's first attempt to beat death," have witnessed men coming and going. They stood through the Napoleonic wars and will stand through the "war to end all wars." There is contrast in these shots, of antiquity, and the youth of the men, like millions of young men who have gone before. There is irony in the fact that the pyramids symbolise beating death and humanity is still not able to do this.Below: Note low angle depth that adds height to the looming pyramid.

TWO SHOTSThere are a number of shots where two heads in close-up or mid-shot are shown. At the start, Archie and Uncle Frank are shot facing each other in profile, as close-ups or from hid-shot, which mirrors the closeness of their relationship and their mutual respect and understanding. They are eye-to-eye.

The same occurs with Archie and Frank as their relationship develops as friends. There are several shoulder- to- shoulder shots which connect them visually for the viewer.

Whenever in the film there is a need to introduce intensity (seriousness) either through the closeness of friendship, or of conflict, note the use of close ups. When Major Barton and the British Commander discuss the battle about to occur in the Nek, they are in close-up, but also shot from a low angle to convey the superior position they hold, and this makes them appear dramatic.There is a shot at the end of the film when Archie and Frank stand on high ground at Gallipoli and we hear the sound of machine guns and screams. Both of the two are motionless and shot as silhouettes, which gives the shot an eerie, disturbing feeling.When Frank finds his mates and visits Snow on his deathbed, note the low lighting and close-ups which add poignancy (a sharp sadness) to the scene. The shots go between Frank and Snow, slowly. The slowing of the shots adds the feeling of dread and seriousness to this conversation.

Suggested Teaching Plan

This Unit has been written FOR Year 11 in preparation for NCEA Close Study of Visual Text.

Viewing of the film.

Pre-teaching : some background to World War One, the countries engaged in it and its setting, and how the Australians and New Zealanders came to be involved, would make the film more relevant.

Show the film right through without interruption (except for lesson breaks) . Each period, it is useful to begin with a brief summary from a student of what has been seen, and to answer any questions if they arise.

Class discussion of immediate responses. (Can use the response sheet provided.)

Complete a brief plot summary for students personal notes and later revision, (emphasising that this is the only time they will write this, as it is never required in the examination).

Revise basic film techniques and terminology. (Sheet provided.)

Close Reading of the Film

Show the film again, in short sections, for close reading of the text, stopping to discuss, analyse, and take notes. A way to do this is to follow the chapters of the DV, but can be done arbitrarily according to the class and time available. Ask What is happening here? How has it been made to happen, given that everything in film is deliberate?

Task sheets can be set for individual work: e.g each group may have to analyse a different character, or film shots used in different scenes, or other aspects of the film sequence in question, which can then be shared.

There is unlikely to be time to focus on the whole film in this sort of depth focus on key sequences such as (e.g )the opening and ending, or the officers dance and then the landing in Gallipolietc.

Areas for further study:

Narrative Structure - See the Background Notes below, and have students note the way the film is divided into its narrative structure.

Setting - See the Background Notes below, and give a historical and geographical perspective. Significant is the social pressure at the time to be a man and fight for the Empire and how this, ironically, led to a sense of independent nationhood for the Australians and New Zealanders who felt disconnected from the British and thrown together as a national group with their own culture and identity.

Characterisation - see notes made on Archie and Frank below and focus on other characters (Uncle Jack, Les the Stockman, Major Barton, Franks friends from the pre-war days.) How does each of these contribute to the storyline? What do the characters represent? How do we know that?

Themes - See Background Notes for details on the themes. Start by asking the class what the idea that the film-maker has in mind for us to think about might bethere are at least three significant ones. (See below in Background Notes.)

Theme and Techniques - Take the themes and discuss the film techniques which enhance them, and draw our attention and shape our mood or attitude. (See below in Background Notes.)

Snow kept a diary, as many soldiers did at Gallipoli.

(Over- the- shoulder shot.)