support materials hsc 2014 japanese extension

Stage 6 Extension

Support materials HSC 2014–2018

Japanese Extension

Contents General information ...............................................................................................................4

Introduction to the Extension course support materials ...................................................... 4

Structure of Languages Extension courses........................................................................... 5

Preparing students to present opinions and argue a case ................................................... 7

Proformas for planning monologues and essays ............................................................... 16

Film techniques ................................................................................................................. 25

Overview of syllabus text types ......................................................................................... 31

Glossary of key words (Languages) .................................................................................... 35

Vocabulary ...........................................................................................................................36

Extract 1............................................................................................................................ 36

Extract 2............................................................................................................................ 40

Extract 3............................................................................................................................ 43

Extract 4............................................................................................................................ 46

Issues reflected in the film ....................................................................................................48

Prescribed issues............................................................................................................... 48

Extract 1............................................................................................................................ 48

Extract 2............................................................................................................................ 49

Extract 3............................................................................................................................ 50

Extract 4............................................................................................................................ 50

Issue related links ............................................................................................................. 51

Issue related reading resource .......................................................................................... 52

Sample tasks .........................................................................................................................54

Coping with change ........................................................................................................... 57

© State of New South Wales, Department of Education and Communities

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The place of traditions in modern society ......................................................................... 65

Connectedness ................................................................................................................. 67

Film techniques in each extract ......................................................................................... 73

Film techniques template for students .............................................................................. 77


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Copyright and acknowledgments

Copyright

This resource contains information, data, documents, pages and images ('the material') prepared by the Department of Education and Communities. The material is subject to copyright under the Copyright Act 1968 (Cth), and it is owned by the State of New South Wales through the Department of Education and Communities and the Association of Independent Schools of NSW Ltd, although it may contain material that is owned by other parties.

© State of NSW through the Department of Education and Communities, and the Association of Independent Schools of NSW Ltd, 2013.

This work may be freely reproduced and distributed for non-commercial educational purposes only. Permission must be received from the owners for all other uses.

Disclaimer

In compiling the information contained in and accessed through this resource, the Department of Education and Communities and the Association of Independent Schools of NSW have used their best endeavours to ensure that the information is correct and current at the time of publication but take no responsibility for any error, omission or defect therein.

The interpretations presented in this publication should not be regarded as definitive. Although the notes provide support to the Extension Course prescribed text(s), they are not to be considered authoritative.

Controversial issues in schools

In exploring the issues prescribed for Languages Extension courses, teachers in government schools are to adhere to the NSW DEC policy: Controversial Issues in Schools. The policy provides direction for management of controversial issues in schools, whether by the use of teaching and learning material or views expressed by teachers or visiting speakers. The policy can be accessed at: https://www.det.nsw.edu.au/policies/index.shtml

Third party sites

This resource may contain links to third party websites and resources. Neither the Department of Education and Communities nor the Association of Independent Schools, NSW Ltd is responsible for the condition or content of these sites or resources, as they are not under the control of the Department or the AIS.

Acknowledgments

Although this resource is owned by the State of New South Wales through the Department of Education and Communities and the Association of Independent Schools of NSW Ltd, it may contain material that is owned by other parties.

Screenplay extracts from Okuribito (Departures) (2008), directed by Yojiro Takita, produced by Yasuhiro Mase, screenplay by Kundo Koyama (Copied under S.200AB of the Copyright Amendment Act

2006). i

https://www.det.nsw.edu.au/policies/index.shtml


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This material is licensed under the National Educational Access Licence for Schools (NEALS).

Schools administered or represented by parties to NEALS may freely reproduce and/or make

available online or electronically transmit this material in whole or part for educational uses.

General information

Introduction to the Extension course support materials

These materials were prepared for teachers of the Japanese HSC Extension course. They aim to support the teaching of the prescribed text and issues, thereby helping students achieve the outcomes of the Extension syllabus.

The Extension course is a 60-hour course of study set out in the Japanese Extension Stage 6 Syllabus 2000, available on the website of the Board of Studies NSW: www.boardofstudies.nsw.edu.au

The organisational focus of the Extension course is the theme: The individual and contemporary society. A number of issues that exemplify aspects of the theme are prescribed for study. Students engage with these issues through the study of prescribed and related texts.

Prescribed issues 2014–2018

The prescribed issues for Japanese are:

coping with change

the place of traditions in modern society

connectedness.

For further details of each issue and some example sub-topics within the issues, see the Board of Studies NSW document Japanese Extension Course Prescriptions: Higher School Certificate 2014–2018: www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/japanese-ext-prescriptions-14-18.pdf

Note that the example sub-topics are not intended to be a complete list.

Prescribed text 2014–2018

The prescribed text is the film Okuribito (Departures), 2008, directed by Yojiro Takita. (Released by MADMAN Entertainment Pty Ltd, Australia.)

Four extracts from the film have been prescribed for study. For details of the extracts, see Japanese Extension Course Prescriptions: Higher School Certificate 2014–2018.

Note: This resource is intended only as an introduction to the study of the prescribed texts and issues and does not attempt to cover all aspects of the Extension course. It is envisaged that teachers will draw from this material according to the needs of their students rather than using every item, and that they will supplement these notes with additional material.

http://www.boardofstudies.nsw.edu.au/

http://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/japanese-ext-prescriptions-14-18.pdf

http://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/japanese-ext-prescriptions-14-18.pdf


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Structure of Languages Extension courses

The organisational focus of the Languages Extension courses is the theme: The individual and contemporary society. The theme is exemplified by the prescribed issues.

The prescribed issues are explored through the study of:

a text prescribed by the Board of Studies NSW (the prescribed text)

additional texts related to the prescribed issues (related texts), identified by the teacher and/or students.

Exploring the prescribed issues through the prescribed text

The study of the issues through the prescribed text will involve:

exploring the relationship between the issues and the prescribed text

creating original text in response to aspects of the prescribed text

identifying meaning and how it is conveyed in the prescribed text

evaluating linguistic and cultural features of the prescribed text

analysing the sociocultural context of the prescribed text.

Exploring the prescribed issues through related texts

To assist teachers and students in selecting suitable related texts through which they can explore the issues, suggested sub-topics have been provided in the Board of Studies NSW document Japanese Extension Course Prescriptions: Higher School Certificate 2014–2018. It is important to note that these sub-topics are not prescribed, exhaustive or definitive. They are suggestions only to give a sense of the scope of the prescribed issues. Teachers should not limit the exploration of the issues to these sub-topics, and may use them in addition to, or instead of, other possible sub-topics (provided that these sub-topics also relate to the prescribed issues).

Study of the issues through other related texts will allow students to:

read, view and/or listen to a range of texts

further develop knowledge of Japanese and Japanese-speaking communities

evaluate how the issues are presented in these texts.

How to use this resource

These materials have been designed to support teachers in the teaching and learning of the Board of Studies NSW Stage 6 HSC Japanese Extension Course Prescriptions 2014–2018. These prescriptions will be examined for the first time in the 2014 HSC.


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Information in this document

This document contains general information about the structure of the Japanese Extension course. There are strategies for preparing students to present opinions and argue a case, useful suggestions for teaching literary texts, notes on film techniques, an overview of syllabus text types and a glossary of key words (Languages).

The document also includes materials that can be copied and handed out to students, such as planning notes and templates for students to develop skills in formulating and justifying an argument or a point of view.


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Preparing students to present opinions and argue a case

To achieve the outcomes of the Extension syllabus, students must be able to use the target language to discuss attitudes, opinions and ideas and to formulate and justify an argument.

To prepare students to respond capably to a broad range of questions, beyond just the sub-topics of the prescribed issues, teachers need to use strategies that encourage students to think in terms of opinions and arguments.

Emphasis needs to be placed on developing skills that can be applied to any content. Students should not attempt to fit a prepared response to a question, but rather use general structures and prepare a range of phrases that could be used to present any opinion and justify any argument. Students need to be exposed to a variety of topics and trained to quickly develop a logical argument with their own point of view embedded in the response.

Activities and resources that could be used to develop this include:

1 soapbox activity

2 brainstorming and mind-mapping

3 class discussions

4 presenting a point of view

5 using other Languages Extension syllabuses

6 developing skills for monologues and short essays

7 developing knowledge of specialist vocabulary

8 recording responses

9 Board of Studies NSW Standards Packages.

1. Soapbox activity

To familiarise students with current affairs and to encourage speaking, do a Soapbox in English. Ask students to discuss something that has occurred in world current affairs that week that is of interest to them. The emphasis should be on expressing themselves in English without using specialist vocabulary, as they would if they were speaking in the target language. The activity does not take long and should be used regularly.

After a term or so, an extension to the activity is to do a Soapbox in the target language. To engage the whole class, have students complete a table like the one below, while listening to their classmates speak. Review unfamiliar vocabulary before moving on to the next student.

Language structures used Unfamiliar vocabulary


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2. Brainstorming and mind-mapping

Have students brainstorm the prescribed issues and complete a mind-map to organise their thoughts. Students should think broadly about subjects that would relate to specific issues, even if only tenuously. Graphic organisers are useful tools to assist them in organising each prescribed issue into topics and sub-topics.

Useful graphic organisers include:

placemat protocols

plus/minus/interesting (PMI) charts

affinity diagrams

lotus diagrams.

Placemat protocols

These are useful for achieving breadth and depth in monologues and short essays on a topic. They can be used to:

critically assess texts

develop a comprehensive range of strategies and skills appropriate to the text being read

justify a point of view.

Procedure:

Use a marker pen to divide an A3 sheet of paper into the format shown below.

Divide the class into groups of four and give each group one ‘placemat’ (A3 sheet).

Nominate a group leader. The group leader then cuts sections of the placemat and gives each student in the group one of the outside sections.

Topic of text


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Give students (including the group leader) a selected text to ready individually.

The group leader writes the topic of the text in the centre section of the placemat.

After a predetermined period (the length of time will depend on the length and complexity of the text), ask students to summarise the most important points they have read in the text in dot point form on their section of the placemat.

Reassemble the placemat.

In the centre of the placemat, the group leader lists common points identified by all four students.

When this is complete, give each student a specific period of uninterrupted time (e.g. three minutes) to justify orally the inclusion of individual points not listed by others (i.e. that are not listed in the centre of the placemat).

The group leader presents a summary of findings to the whole class.

Plus/minus/interesting (PMI) charts

These graphic organisers are useful for looking at both sides of an argument, or seeing things from a different perspective. The PMI chart is a creative thinking strategy used in Edward De Bono’s CoRT Thinking Program.

PMI charts help students to:

see both sides of an argument

view things from a different point of view

think broadly about an issue

suspend judgment

make informed decisions

work as individuals, in pairs or as members of a group.

Procedure:

The strategy can be used in a range of classroom activities, including analysing texts and exploring issues. Give students a format for recording their ideas such as the table below.

Plus Minus Interesting


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Individually, in pairs or in small groups, students apply three questions to a statement or task provided by the teacher:

What are the positive ideas about this?

What are the negative ideas about this?

What is interesting about this?

Within a specified time limit, students brainstorm their responses, having appointed a recorder and a reporter. At the end of the designated time, the reporter reports back on the group’s most original or creative ideas from each of the categories.

It is useful to model the activity first, using as a topic a statement such as: ‘In the future, everyone will carry around personal mobile phones like wristwatches’ or a recently shared text or experience.

A range of outcomes can be assessed using PMI-based activities. For example:

understands and interprets the task

uses strategies to assist or facilitate brainstorming

contributes to discussion

comprehends and explains opinions and information

evaluates a range of viewpoints and can distinguish them from their own

applies the process of PMI to a range of situations.

Affinity diagrams

These are useful for brainstorming issue-related ideas and organising them into topics. The affinity diagram is an interactive data collection method that allows groups of people to identify and sort large quantities of ideas within a short time frame.

Procedure:

Clearly define and write the question or topic for the session at the top of a flip chart. All class members individually brainstorm ideas relating to the question or topic.

While brainstorming, individuals, without discussion, write each of their ideas on a separate sticky note and place these in front of them.

Class members randomly place ideas on the topic flip chart.

Class members, working as a group, silently place ideas into like categories.

Label the idea for each category by writing it on the flip chart.


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Lotus diagrams

This graphic organiser is useful for issues and sub-topics. The lotus diagram takes its name from the lotus flower, whose petals open in an overlapping way.

The diagram comprises nine boxes. The main topic goes into the unlabelled centre box. Around the centre box are eight numbered boxes. What a student knows about the main topic is placed in each of the numbered boxes. Each of the eight boxes has a lotus diagram of its own. Students can place the information in the box labelled number 1 in the centre box into the box labelled number 1 in the outer box. In the outer box the student can put more ideas about that information in the eight boxes around it.

1 2 3

4

5 6 7

8

1 2 3

4

5 6 7

8


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3. Class discussions

Use class discussions, most likely in English, to gather ideas and the debate pros and cons related to a particular topic or question. The results of the discussions can then be organised and used to formulate responses to particular topics and questions in the target language. Use material already published on the topic as a discussion starter. Discussion could involve expanding ideas or identifying vocabulary, phrases and structures in the target language that will be useful in any response.

Useful resources include:

HSC Extension course support material (DEC/AIS)

articles in textbooks

past HSC papers/questions

HSC Online: www.hsc.csu.edu.au/

a brainstormed list of possible prescribed issue-related topic questions

news items/newspaper/internet articles related to the prescribed issues.

4. Presenting a point of view

Encourage students to think about both sides of the argument for the stimulus statement or question before deciding which stance they will take: for or against/agree or disagree. Students should take the point of view they feel they are best equipped to argue.

Exercise 1

In order to practise presenting a point of view through classroom discussion, as described above, students formulate a response to a question in the target language and then present a different point of view on the same topic.

Exercise 2

Students brainstorm HSC-style questions in pairs, based on sub-topics from their mind-maps:

Give each pair a different topic.

Ask one student to speak for the affirmative and one for the negative.

Each pair prepares a one-and-a-half to two-minute speech in English. This is conducted as a debate, where the other students act as adjudicators after hearing each of the arguments. The other students must justify their decision based on the logic of the argument. This exercise can be done in the target language when students become more confident.

http://www.hsc.csu.edu.au/


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5. Using other Languages Extension syllabuses

Download relevant sections of other language syllabuses from the Board of Studies NSW website and look at the prescribed issues and suggested sub-topics. If they are similar to those set for Extension, use them as a source of ideas for practice speaking and writing questions. Be aware that the sub-topics listed for any one prescribed issue are many and varied. They are not limited to the dash points in the syllabus or to those that have been examined in previous HSC examinations.

6. Developing skills for monologues and short essays

Students should develop the skills necessary to prepare monologues and write short essays and the ability to present and support a point of view or to develop an argument in the target language. These skills are necessary for the speaking and writing sections of the HSC examination. However, note that short essay writing is not the only text type specified for productive use in the Extension course.

Exercise

Give students a question/stimulus statement. For example: Advances in communication technology have been detrimental to face-to-face communication. What is your opinion?

As a class, brainstorm ideas in English and record them on the board.

Organise points or ideas into ‘for’ and ‘against’ the argument.

As a class, decide which side of the argument is easier to present (i.e. for or against).

Using the ideas gathered, ask individual students to write their own response in simple English (sample response in English).

Share the sample responses as a class.

Deconstruct the sample responses and come up with a skeleton structure common to all good responses: introduction, main body and conclusion.

Go through the sample response structure below.

Joint construction: students create a group response in the target language to the same question by fleshing out their argument using the sample structure. Working in pairs or groups of three, students take an example and write a paragraph on it.

When all students in the group have finished, put the paragraphs together to make a whole response. The opening statement, brief outline and concluding statements can be written at the same time. There may be some repetition through the argument, but students should gain confidence and the ability to put together a response before writing individual responses.

Individual construction: students write their own response to the same question using ideas and skills gathered in this exercise.


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Sample response structure

Take a stance (for or against) or make an opening statement (if not argument).

Give a short introduction (i.e. briefly state the reasons why you are for or against, or summarise what you are about to say or write).

Present your first example and detail.

Present your second example and detail.

Present your third example and detail.

Draw your conclusion (reiterate your stance, for or against, and summarise your argument).

7. Developing knowledge of specialist vocabulary

Learning some commonly used vocabulary and expressions related to the Extension issues will help students respond to speaking and writing tasks.

Exercise 1

Cut up the specialist words or expressions and put them into a hat. Students then take turns drawing one out and translating it into the other language.

Exercise 2

Have students make a domino game where they have to match the target language words or expressions with the English equivalent. You can set up this activity as a group or individual activity (you will need several sets) and make it into a competition by timing students. This is useful as a revision activity.

Exercise 3

In order to develop students’ ability to express complex ideas in simple language rather than relying on a dictionary, put a list of difficult (and hard to translate) English words into a hat. Have students draw words one at a time and express them using the target language they are already familiar with. You may need to rephrase some words in English before the students express them in the target language.

This exercise is particularly relevant practice for the speaking exam where dictionaries are not permitted. However, even in writing tasks, students should try to avoid using unknown words from the dictionary as much as possible. Trying to find an alternative way of expressing an idea is an excellent skill to develop. It’s what we all do to communicate in a foreign language!


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8. Recording responses

For the oral examination, students respond with a monologue to one question from a choice of two. They are given seven minutes to prepare their response and may make notes and refer to them during the examination. Students are expected to speak for approximately three minutes. The monologue is recorded, so students need to become accustomed to this process. They also need to learn how to make effective use of the preparation time and be well-practised in planning and writing dot points for their monologue.

Exercise 1

Students take a question or stimulus statement out of a hat and give themselves seven minutes preparation time. At the end of the seven minutes they record their response. They should not stop the recording until they have completed their response. When finished, they play back the recording. This is an excellent exercise to help students become accustomed to forming ideas and developing a response within the time limit of the HSC oral examination.

Exercise 2

Have students record a monologue and bring it to school for peer assessment. This will help them to develop confidence in recording their voice and to become used to speaking clearly and at an even pace. Peer assessment is recommended for this exercise, as other students learn from their peers’ strengths and weaknesses. The exercise should be used as a stimulus for a constructive discussion aimed at improving the performance of the whole class as well as that of the student whose performance is being assessed. An explanation of the marking guidelines is necessary at this point so that students are made aware of the criteria examiners will apply.

9. Board of Studies NSW Standards Packages

It is important that students are familiar with the marking rubric and guidelines for each section of the HSC examination. Board of Studies NSW Standards Packages (2001 and 2002) contain the marking guidelines as well as a sample examination paper, syllabus, answers and sample student responses at band cut-off points. The Standards Packages are an invaluable teaching and learning tool. These CD-ROMs were sent to all schools by the Board of Studies NSW.

Exercise 1

Select a number of sample answers from the Standards Package speaking and writing sections and have students award marks to them by applying the marking guidelines. Students can discuss the marking criteria and justify their marks from an examiner’s perspective.

Exercise 2

Students listen to and read a number of speaking and writing samples from across the range of bands. They can use the exemplar samples as a model for their own monologues and writing.


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Proformas for planning monologues and essays

The skills required for the oral and written sections of the HSC examination for the Stage 6 Japanese Extension course are slightly different to those required in the Stage 6 Japanese Continuers course.

In both the oral examination and the written examination, students are required to present and support a point of view in Japanese.

Teachers will need to support their students in developing these skills. The following templates and proformas have been designed to help students develop a structured approach to responding to monologues and short essay questions. They may be useful as a starting point, but also for the development of breadth and depth in student responses.

The following sequence is recommended for teaching these skills:

1 Give a sample question in English and brainstorm possible ideas.

2 Use a planning overview (Proformas 1 and 2) to clearly organise ideas under sub-headings in English.

3 Ask students to choose a planning notes proforma (Proformas 3 and 4).

4 Using the planning notes proforma, ask students to write a monologue or short essay in English based on the overview developed in Step 2.

5 Once students are confident about structuring a response and showing breadth and depth, provide a question in Japanese.

6 Students go through steps 1–5 again, this time writing in Japanese.

In order to gain confidence and competence in these skills, students should be encouraged to write as many monologues or short essays as possible. Monologues can be recorded for practice. Note that short essays are not the only text type prescribed in the Stage 6 Extension syllabus. Students also need to be familiar with the text types for productive use listed in the Stage 6 Continuers syllabus.

Note: A 600 ji short essay is approximately the same length as a three-minute monologue. Therefore, students can practise both skill areas by writing compositions on questions related to the prescribed issues.


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Planning proforma 1

Question:

Breadth

Dep

th

Example 1 Example 2 Example 3


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Sample proforma 1

Question: テクノロジーはストレスをおこします。どう思いますか。

(Technology causes stress. What is your opinion?)

Breadth

Dep

th

Example 1

In the home

Example 2

In the workplace

Example 3

In our leisure

activities

use of appliances

makes life easier

(e.g. vacuum

cleaners and

washing machines)

computers and the

internet make work

easier, less stress

we can de-stress

using plasma TVs,

iPods, etc.

home-shopping via

the internet saves

time, energy and

stress

less travelling

because of video

conferencing

we can book

movies, concerts

and plane tickets

online

creature comforts

make our life

pleasant (e.g. air-

conditioners)

instant

communication

via email saves

time

we enjoy games

such as PlayStation

2 and Nintendo DS,


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Planning proforma 2 (mini lotus diagram)

Question:

Example 1 Example 2

Question or topic

Example 3 Example 4


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Sample proforma 2

Home-

shopping

via the

internet

saves time,

energy and

stress

Less

travelling

because of

video

conferenc-

ing

Use of

appliances

makes life

easier (e.g.

vacuum

cleaners

and

washing

machines)

Example 1

In the

home

We have

creature

comforts

such as

air-

condition-

ers

Computers

and the

internet

make work

easier, less

stress

Example 2

In the

workplace

Instant

commun-

ication via

email saves

time

Question

テクノロジーはストレスを

おこします。どう思いま

か。

(Technology causes stress. What is your opinion?)

We can de-

stress using

plasma

TVs, iPods,

etc.

Example 3

In our

leisure

activities

We enjoy

games such

as

PlayStation

2 and

Nintendo

DS

Example 4

We can

book

movies,

concerts

and plane

tickets

online


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Planning proforma 3

Question (Write in the question or stimulus statement)

Opening statement (State your stance on the question or stimulus statement. Do you agree or disagree?)

Introductory statement (State why you agree or disagree with the stimulus statement and introduce the examples you are going to discuss to support your argument)

1st example (Explore each point in depth)

•

•

•

2nd example (Explore each point in depth)

•

•

•

3rd example (Explore each point in depth)

•

•

•

Concluding statement (Link your points back to the question or stimulus statement and re-confirm your stance)


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Sample proforma 3

Question テクノロジーはストレスをおこします。どう思いまか。 Technology causes stress. What is your opinion?

Opening statement (State your stance on the question or stimulus statement. Do you agree or disagree?)

I disagree with this statement. I do not think that

technology causes stress.

Introductory statement (State why you agree or disagree with the stimulus statement and introduce the examples you are going to discuss to support your argument)

Technology has made many aspects of our lives easier;

in our homes, in the workplace and in our leisure

activities. This has meant that there is less stress in our

lives.

1st example

In the home

(Explore each point in depth)

• Appliances such as vacuum cleaners, washing

machines and microwaves make housework quicker

and easier. This saves time and there is more time to

relax.

• We can shop from home via the internet without

having to go to the shops.

• We have creature comforts such as air-conditioners.

2nd example

In the workplace


• Computers and the internet make our jobs easier and

quicker.

• There is less travel because of video conferencing and

therefore we are less tired and stressed.

• Instant communication via emails instead of long

conversations over the phone saves time.

3rd example

In our leisure

activities


• We can de-stress with things such as plasma TVs and

iPods.

• We can check movie times and book plane tickets and

concert tickets online, saving time and money.

• We can enjoy games such as PlayStation 2 and

Nintendo DS, which decreases our stress levels.

Concluding statement (Link your points back to the question/stimulus statement and re-confirm your stance)

For these reasons, I do not think technology causes

stress. It makes our lives easier and therefore eases

stress.


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Planning proforma 4

Question: (Write in the question with the stimulus statement)

Opening statement: (Make your stance known. Do you agree or disagree with the stimulus statement?)

Introductory statement: (State why you agree or disagree with the stimulus statement and introduce the examples you are going to discuss to support your argument)

First example: _____________________________ (go into depth for each example)

•

•

•

Second example: _____________________________ (go into depth for each example)

•

•

•

Third example: _____________________________ (go into depth for each example)

•

•

•

Concluding statement: (Link your examples back to why you agree or disagree with the statement, and re-state your stance)


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Sample proforma 4

Question:

テクノロジーはストレスをおこします。どう思いまか。

Technology causes stress. What is your opinion?

Opening statement: (Make your stance known. Do you agree or disagree with the stimulus statement?)

I disagree with this statement. I do not think that technology causes stress.

Introductory statement: (State why you agree or disagree with the stimulus statement and introduce the examples you are going to discuss to support your argument)

Technology has made many aspects of our lives easier; in our homes, in the

workplace and in our leisure activities. This has meant that there is less stress

in our lives.

First example: In the home (go into depth for each example)

Appliances such as vacuum cleaners, washing machines and microwaves

make housework quicker and easier. This saves time and there is more time

to relax.

We can shop from home via the internet without having to go to the shops.

We have creature comforts such as air-conditioners.

Second example: In the workplace (go into depth for each example)

Computers and the internet make our jobs easier and quicker.

There is less travel because of video conferencing and therefore we are less

tired and stressed.

Instant communication via emails instead of long conversations over the

phone saves time.

Third example: In our leisure activities (go into depth for each example)

We can de-stress with things such as plasma TVs and iPods.

We can check movie times and book plane tickets and concert tickets online,

saving time and money.

We can enjoy games such as PlayStation 2 and Nintendo DS, which decrease

our stress levels.

Concluding statement: (Link your examples back to why you agree or disagree with the statement, and re-state your stance)

For these reasons, I do not think technology causes stress. It makes our lives

easier and therefore eases stress.


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Film techniques

Shot composition and framing

The shot composition consists of all the elements within a shot. It is a selective representation of reality, as seen within the confines of a frame. It is carefully thought through, very rarely the product of a chance happening.

Framing refers to the placement of the subject matter within each shot. The subject may be centrally or laterally placed. A character may be seen in profile, from the back or the front. The numbers of characters in each frame, how much of the background is included and for what purpose are also elements of framing. The framing and the way in which all the elements within it are placed, form the shot composition.

Some useful questions to ask when examining a shot composition are:

What are the elements within the frame?

How many people can be seen?

Where are the people positioned within the frame (e.g. right, left, centre, front, back)?

How are they shown (e.g. front, back, profile)?

Is there any eye contact or physical contact between the people in the frame?

How much of the background is shown?

By examining shot composition, students will be able to discern certain subtleties used by the director to manipulate the audience.

Type of shot and camera angle

A shot is everything that is recorded on film from the time the clapboard has been shut to the time the director calls ‘Cut!’ A lengthy shot (20 to 30 seconds) may convey a feeling of tranquillity, whereas a succession of short shots (1 to 5 seconds) will hasten the pace and movement.

Film shots are taken from different distances to serve different purposes. The illustrations below will clarify the general terminology that is used in camera shots and angles.


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Long shot or wide shot

The long shot, also known as the wide shot, shows the entire object or character and places the object or character in its surroundings.

With the camera shooting at a distance from the characters or the centre of the setting, long shots are commonly used as an introduction to grab the viewer’s attention and to invite involvement. A long shot is often used to anticipate the events that will follow or transport us to a different environment.

Medium long shot

This technique serves the purpose of setting the action within a confined environment. It shows what the characters are doing.


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Medium shot

Medium shots are used to focus on the dialogue and the interaction between characters in a group.

Medium close-up

The medium close-up shot is generally used to reveal the psychological state of the characters rather than their actions.


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Close-up

Close-ups are often used to display the feelings and emotions of the characters and to gain an insight into their thoughts. Close-ups are dramatic and effective devices used to portray characters and character development.

High angle shot

The high angle shot reduces the subject to lower proportions in relation to the surroundings. It is often used to indicate a feeling of helplessness, loneliness or isolation.


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Low angle shot

A low angle shot lends more authority, more weight to the subject.

Straight-on angle shot

This is the most common angle used in filmmaking. Unlike the high and low angle shots mentioned above, it conveys objectivity.


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Colour and lighting

Colour and lighting (including the angle of lighting) are essential elements of modern cinematography. Colour visually stimulates the viewer’s senses and feelings in a most direct and physical manner. On an emotional level, lighting sets a mood and creates an atmosphere, and invites an emotional and intellectual response from the viewer. Colour helps to convey meaning by visually expressing the characters’ moods and feelings.

It is important to locate the source of light in a shot composition. Is it natural or artificial lighting? Does it come from the side, the back, the front, the top, or from underneath? Is the light coming from outside the frame or from within it? Is it soft, diffused, strong or harsh?

Colour and lighting are not easily separable as the latter will change the way an object looks no matter what colour it is. Our personal response to a particular shot will often be subconsciously determined by the quality, depth and type of colour used. It is important to ask how the colour complements the theme both in the film as a whole and in particular shots.

Sound

The sound track includes dialogue, music and sound effects, including ambient sounds such as traffic noise, slamming doors and train noises. Tone, speed, pitch and volume or strength of a dialogue all contribute significantly to our perception of a character and the part he or she plays in a scene. The sound affects the message the director seeks to express.

Editing

Editing consists of putting together, in a given order, the thousands of shots that have been taken and to which the sound track will be added. This very complex task involves the selecting, deleting, clipping, lengthening and rearranging of shots before gaining the final stamp of approval from the director. Editing also involves the choice and order of opening and closing credits, sound effects and voice-overs.

Costuming and décor

Costuming and décor comprise the way people dress, interior décor and any other personal or collective look. Décor and costumes not only set a scene within its geographical and historical context, but can also reveal the social status or personality of the characters.


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Overview of syllabus text types

The text types listed in the Japanese Continuers Stage 6 Syllabus are assumed knowledge.

In addition, students are expected to be able to produce the following text types in the external examination:

diary entry

formal letter

monologue

narrative account*

script of a conversation

short essay.

Teachers may introduce students to a wider range of text types in the course of their teaching and learning program.

*Note: Narrative account may include, for example, the writing of an alternative ending to a short story or the rewriting of an excerpt from a different perspective.

Teachers should check the Board of Studies NSW website for syllabus amendments.

The table below is a guide to the purpose, structure and language features typical of each text type.

Syllabus text type

Purpose Structure Language features

article to sustain an argument

to describe

to inform, to persuade, to amuse or entertain

titles or headings

development of ideas or argument

sequencing and linking of ideas

statement of conclusion or advice

range of tenses

linking words

language can be descriptive, factual, judgmental, emotive or persuasive depending on context

conversation to exchange information, opinions and experiences

to maintain and sustain communication

exchange of opening salutations

question or statement followed by response

two-way interaction (sustained)

question forms

strategies to maintain conversation (fillers)

interjections

incomplete sentences

language level depends on context and relationship between participants

description to inform

to entertain

to describe

to classify

general statement or classification

introduction and elaborated description of characteristic features

specific details

descriptive words

a range of tenses

varied vocabulary

comparative expressions

literary devices (e.g. simile, imagery)


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diary or journal entry

to record personal reflections or experiences

chronological or stream of consciousness

first person

abbreviated words or sentences

subjective or informal language

discussion to give different points of view

to examine issues from more than one perspective

to make recommendations based on evidence

to sustain an argument

presentation of main idea in introduction

evidence or data to support main idea

interaction between participants to clarify understandings

conclusion or reiteration of main idea

balanced presentation

linking words to sequence ideas logically

qualifying words (e.g. usually, probably)

persuasive, descriptive, discursive or personal language, depending on context

comparative expressions

email or fax to use technology-based methods of communication

to inform

to seek a response

conventions (i.e. subject line, email addresses)

specific details without elaboration

salutations and endings

abbreviated words and sentences

simple language structures

short essays to discuss

to analyse

to assess

to guide or teach

orientation or introduction

presentation of argument, judgment or evaluation

conclusion or reiteration of main argument

often has embedded description and/or explanation

formal, objective language

linking words to sequence ideas and paragraphs

qualifying words

abstract nouns and concepts

complex sentence structure

evidence or examples included to support or enhance argument

formal letter to communicate in writing in formal contexts

to request information

to lodge a complaint

to express an opinion

salutations

letter conventions (e.g. layout, address, dates)

logical and cohesive sequence of ideas

use of full sentences and paragraphs

more complex sentence structure

objective language

frequent use of formulaic expressions

informal letter

to communicate in writing with acquaintances, friends, family

to inform or amuse

salutations

letter conventions (e.g. layout, address, date)

frequent colloquial language

subjective language

sentence structure often less complex than in formal letters


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interview to seek and convey information, views or opinions

question and response form

question words

link words

strategies to maintain communication

invitation to invite in written form

layout conventions

statement of facts

protocols

abbreviated language

formal or informal language

expressions which tell when, where, with whom

message or note

to inform

to request

to instruct

to remind

general statement, description, procedure

may be in point form

succinct

abbreviated words and sentences

lack of descriptive detail

frequent use of colloquial language

speech or talk (script)

to communicate ideas, opinions and attitudes

to entertain

to persuade

to welcome

to thank

introductory statement of purpose

explanation or sequence of events or presentation of argument

concluding remarks

choice of expressions to engage the audience

descriptive words

a range of tenses subjective language

narrative account

to entertain, amuse or instruct

series of events presented in logical progression

resolution or conclusion

may contain a series of complications

time words used to connect events

use of action words

descriptions of characters and settings

personal profile

to describe

to outline personal details

may be in point form (appropriate to situation)

use of headings and subheadings

factual

descriptive language

present tense

simple phrases or sentences

postcard to provide information

to retell events

salutations

brief description or message

formulaic ending


incomplete sentences

abbreviated words

colloquial expressions

clichés personal impressions

recount to retell what happened

to tell a series of events

introduction or orientation

events sequenced in chronological order


past tense

time words to connect events

expressions that tell us when, where, with whom and how


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report to classify and/or describe

to organise facts

to draw conclusions

general statement or classification

description

logical progression

supporting evidence (e.g. statistics, examples)

factual

usually present tense

language specific to the topic

objective language

review to respond to a text or stimulus

to summarise, analyse or interpret a text and to assess its value

describe context of text or work

describe the text or work

judgment or evaluation of text or work


more complex structures with frequent abstract language

words that express judgment

possible comparisons

expressions of aesthetic nature


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Glossary of key words (Languages)

The table below lists a selection of words and their meanings in the context of tasks for HSC Languages courses. The list will help teachers and students understand how to respond to tasks that use these terms.

Account Account for, state reasons for, report on. Give an account of; narrate a series of events or transactions.

Analyse Identify components and the relationship between them; draw out and relate implications.

Compare Show how things are similar or different.

Construct Make, build; put together items or arguments.

Contrast Show how things are different or opposite.

Critically analyse or evaluate

Add a degree or level of accuracy, depth, knowledge and understanding, logic, questioning, reflection and quality to analyse or evaluate.

Define State meaning and identify essential qualities.

Demonstrate Show by example.

Describe Provide characteristics and features.

Discuss Identify issues and provide points for and/or against.

Evaluate Make a judgment based on criteria; determine the value of.

Explain Relate cause and effect; make the relationships between things evident; say why and/or how.

Identify Recognise and name.

Interpret Draw meaning from.

Justify Support an argument or conclusion.

Outline Sketch in general terms; indicate the main features of.

Propose Put forward (e.g. a point of view, idea, argument, suggestion) for consideration or action.

Recommend Provide reasons in favour.

Recount Retell a series of events.

Summarise Express, concisely, the relevant details.

Adapted from Board of Studies NSW, A Glossary of Key Words (HSC): www.boardofstudies.nsw.edu.au/syllabus_hsc/glossary_keywords.html

http://www.boardofstudies.nsw.edu.au/syllabus_hsc/glossary_keywords.html


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Vocabulary

Extract 1

Section 1

宣伝せんでん

advertisement, advertising

力ちから

入れる to put effort into

楽団がくだん

orchestra

うちのかみさん my wife

うちの when referring to the group or organisation you belong to

(informal, familiar)

タダ free of charge

やらせます get (my wife) to do it

やらせる causative of やる, make someone do something

どうすかね = どうですかね (spoken language) how is that idea, what do you

think?

それよりさ apart from that; more importantly

無理むり

して beyond one’s capacity

ヤツ = の (substitute ‘one’)

お疲つか

れさまでした thanks for your hard work: you say this after finishing work, to

your colleagues but not to your superiors

客席きゃくせき

seats in the theatre; the audience

やや a bit; a little

寂さび

しかった empty, not full (with the audience)

演奏内容えんそうないよう

the quality of the performance; performance itself

実はですね actually, I have to tell you something …

当楽団とうがくだん

our orchestra

当 when referring to the organisation you belong to (formal)

解散かいさん

します to dissolve

ようやく finally, after all my effort

掴つか

んだ seized


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奏者そうしゃ

performer, player

一瞬いっしゅん

にして in a split second

過去かこ

past

何の罪つみ

もない there is nothing to blame; can’t blame someone or something for

misfortune; no fault

買われたばかりに when I’d only just bought the cello

買われた (passive) showing annoyance

あらゆる in every aspect; in every sense

Section 2

タコ octopus

もらっちゃった = もらってしまった

(how lucky) I received, (pleasantly surprised)

お隣となり

さん next-door neighbour

探せばいいんじゃない how about looking for …

～ばいい how about?; why don’t you?

俺おれ

ぐらいの腕うで

じゃ with my skill level (mediocre)

どうにも無理むり

がある it’s almost impossible (to find a new job)

借金しゃっきん

debt; loan

100万 10,000

1800万 180,000

むしろ rather

安いくらいなんだよ it’s rather cheap (for professional use)

隠かく

して keep a thing secret; conceal from someone

絶対ぜったい

反対はんたい

される be strongly opposed to (passive form)

なんで = なぜどうして (spoken language)

新居しんきょ

one’s new home


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生きていこう let’s have a life together

プロポーズ propose

現実げんじつ

reality

才能さいのう

talent

限界げんかい

limit

気づけばよかった it would have been good that …; I should have realised that …

Section 3

釣られるなよ don’t get caught

辞や

める quit

田舎いなか

hometown in the countryside

（お義母かあ

さんが）遺のこ

してくれた (mother-in-law) left ~ for us

人生 one’s whole life, entire life

最大さいだい

largest

お義母かあ

さん mother-in-law

楽器がっき

musical instrument

分岐点ぶんきてん

cross-roads; turning point

迎えたつもり I felt I had (come to a turning point)

手放てばな

した let it go

途端とたん

as soon as (I gave it up)

不思議ふしぎ

と strangely; oddly

縛しば

られていた (I was) tied down by; constrained by

スーッと expressing the feeling of relief

解放かいほう

された I was released (I was set free)

気がした I felt


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Section 4

たった一つだけ only one

財産ざいさん

estate; assets

喫茶店きっさてん

coffee shop

記憶きおく

memory

愛人あいじん

を作って have an affair

ささやかな small; meagre

スナック a bar

営いとな

み：営いとな

んで to run a small shop; run a business

女手おんなで

一つで as a single mother

育そだ

て上げた raised me

田舎いなか

暮ぐ

らし country life

結構けっこう

quite; fairly

新鮮しんせん

refreshing

お水が違ちが

う the water is different

せいか maybe because of …

お店とか a shop or something

年齢ねんれい

問と

わず no age limit

高給保証こうきゅうほしょう

high salary guaranteed

実質じっしつ

労働ろうどう

時間じかん

actual working hours

正社員せいしゃいん

permanent employee

旅行代理店りょこうだいりてん

travel agent

添乗員てんじょういん

tour conductor; tour guide

未経験者みけいけんしゃ

person with no experience (in the area)

歓迎かんげい

welcome


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Extract 2

Section 1

一体いったい

... in the world (e.g. ‘why in the world?’)

試ため

されている to be tested, the passive form of ためす (to test)

看取みと

って看取る to be with (someone) when they are sick or dying

罰ばつ

punishment

記憶きおく

memory

巻ま

き戻もど

し巻ま

き戻もど

す to rewind

〈チェロ演奏えんそう

〉 (cello playing)

鮭さけ

salmon

切せつ

ない sad

死し

ぬためにのぼる to go up to die

苦労くろう

hardship

帰かえ

りてえ = 帰かえ

りたい: to want to come home

故郷こきょう

hometown (where people were born or brought up)

飯食めしく

い = 食事をする：meal (male language)

社長命令めいれい

order from the boss

偶然ぐうぜん

by chance

通とお

りかかる to happen to pass by

運命うんめい

fate

天職てんしょく

vocation; calling

いい加減かげん

なこと irresponsible; careless


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Section 2

すんません = すみません

申し訳ねえのう = 申し訳ありません

頼たの

むよ I’m asking you, please!

喪主もしゅ

family representative; chief mourner

遅お

っせー！ = 遅い！： late

食く

う to make a living

口紅くちべに

lipstick

よみがえらせる to bring (someone) back to life; revive

永遠の美えいえんのび

eternal life

授さず

ける to give; to grant

冷静れいせい

calmly

正確せいかく

precise

愛情 love

満み

ちている to be filled with

別わか

れの場ば

departure place

立た

ち合あ

う to attend; witness

故人こじん

person who has died

静謐せいひつ

serene; peaceful

行おこな

い actions; behaviour

閉と

じさせて to close (honorific)


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Section 3

あいや～ = あらあ、まあ： hello, hi

めんこい = かわいい： pretty (dialect)

そんげなことねえてば = そんなことないって： not that at all

浸つ

かって = 浸かる： to soak

温あたた

まっていけの = 温まっていきなさい： warm up

通かよ

ってはるの = 通かよ

っているの： to come here

地下水ちかすい

（を）くむ pump up the groundwater

まきで沸わ

かす heat (it) up with firewood

だばで = だから： that’s why

チクチクはしねえ = チクチクはしない / チクチクする: to itch; tickle

Section 4

せばまたのう = じゃあまたね： see you later

バチ（が）当あ

たる to be punished; bring bad luck

役所勤やくしょづと

め working in the public sector

支ささ

える to support

引ひ

き受う

ける to take (it) on; accept

男湯おとこゆ

male bath

肩かた

（を）震ふる

わせる make your shoulders shake

今日きょう

のお湯ゆ

は today’s bath


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Extract 3

Section 1

一度もしてない never did (even once)

やったぜ = やりました: I did

報告ほうこく

report

俺、父親になるわけ？ You mean that I’m going to be a dad?

中途半端ちゅうとはんぱ

な half measured way of ~; half-hearted; irresponsible

堂々どうどう

と proudly

イジメの対象たいしょう

target of bullying

お金なんていらない money is not that important

仲良なかよ

く暮く

らそう let’s live together happily

銭湯せんとう

public bath

おばちゃん aunty (middle aged lady; not necessarily a blood relative)

まき firewood

運はこ

んでる carry

倒たお

れて fell down

最期さいご

の最期さいご

まで to the last moment of her life

なくなっと = なくなると/なくなったら

寂さび

しくなんのう = 寂さび

しくなりますね

拭ふ

いて wipe

お別わか

れをお願ねが

い致いた

します please say farewell


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Section 2

こちらにいらしたんですか？ you work here (polite)

合掌がっしょう

でお送おく

りください please farewell with your palms together pointing up

お窓まど

を閉し

めさせていただきます I’m going to close the window (polite)

……..の = ね: soften the sentence ending

予感よかん

がする premonition

去年の暮く

れ the end of last year

まさか + negative ending It never occurred to me that …;

I have never dreamed of …

この年になって at this (old) age

灯つけて light up

突然とつぜん

suddenly

銭湯せんとう

やってくれ please run my public bath with me

燃も

やす burn

つくづく思う I became fully convinced

死し

は門もん

だ death is a gateway to (somewhere)

くぐり抜ぬ

けて pass through, go through

まさに exactly; surely

門番もんばん

gate keeper

送ってきた I’ve been seeing (them) off


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Section 3

石文いしぶみ

stone letter

文字もじ

letters; characters

贈おく

った gave (something) as a present

感触かんしょく

the feel; the touch

相手あいて

の心を読み解と

く try to understand how the other person is feeling

ツルツル smooth

心の平穏へいおん

peaceful mind

想像そうぞう

image

ゴツゴツ rough

内緒ないしょ

a secret

オヤジ dad; the old man

もしかして I presume; perhaps, possibly

贈おく

り合あ

おうな to send (the ishibumi) to each other

～合あ

う: do things for each other

for example:

助たす

け合う: help each other

分け合う: share

信頼しんらい

し合う: trust each other

～のに although (against one’s expectations, something happens/doesn’t

happen); e.g.

勉強しなかったのにテストでいい点がとれた。

ジョンくんは、パーティーに来ると言ったのに来なかった。

結局けっきょく

after all

やっぱり（やはり） as I thought; as I expected


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Extract 4

Section 1

宛あ

て addressed to

電報でんぽう

telegram

義母はは

mother-in-law

Section 2

由良ゆら

浜はま

name of fishing port town

漁協ぎょきょう

= 漁業ぎょぎょう

共同きょうどう

組合くみあい

: fishing co-operative

お義父とう

さん father-in-law

遺品いひん

deceased person’s belongings

今いま

さら now after all these years

一緒いっしょ

に逃に

げた相手あいて

the one (person) he ran away with

面倒めんどう

（を）見み

てもらえばいい it would be best to be looked after

独ひと

り single; alone

火葬かそう

cremation

遺体いたい

deceased body

集会所しゅうかいじょ

(fishermen’s) meeting place

戸籍こせき

family register

とっくにはずれている has been off (the register) for a long time

帯広おびひろ

name of town

息子むすこ

を捨す

ててくる abandoned my son

泣き叫ぶなきさけぶ

crying out

振ふ

り払はら

って = 振ふ

り払はら

う： to shake off

家いえ

（を）飛と

び出だ

す to run out of the house

会あ

いたいに決き

まっている naturally (of course) I want to see (him)

無責任むせきにん

irresponsible

最期さいご

の姿すがた

を見る the last viewing


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Section 3

突然とつぜん

suddenly

流なが

れて来く

る to drift from

番屋ばんや

: watchman’s cottage

住居代じゅうきょが

わり for the accommodation

無口むくち

quietly

な～んにも言い

わねぇ人ひと

だっけ = 何なに

も言い

わない人ひと

だったから

身内みうち

(someone’s) relatives

葬儀屋そうぎや

undertaker

情なさ

けない shameful; awkward

遺のこ

したもの belongings left by the deceased

段だん

ボール cardboard box

よいしょ oof!

棺ひつぎ

に納おさ

める to put into the coffin

納棺師のうかんし

coffin man; casket professional


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Issues reflected in the film

Prescribed issues

Coping with change

For example:

pressures on the individual

hopes and dreams versus reality

personal growth.

The place of traditions in modern society

For example:

maintaining traditions

urban versus rural lifestyle

economic influences.

Connectedness

For example:

relationships

power of attachment

self-fulfilment.

Extract 1

Coping with change The place of traditions in modern society

Connectedness

Pressure on Daigo when he finds out that he’s lost his job.

Pressure on Mika when she finds out Daigo has lost his job and still has a big debt on his cello.

Daigo’s dream of becoming a professional cellist was shattered when his orchestra was disbanded.

Mika is very flexible and practical about moving to Daigo’s hometown from Tokyo.

Daigo’s dream is being a cellist and travelling around the world with Mika versus his reality, which is that he lost his job and has to give up his precious cello.

Daigo lost his means of earning a living when he lost his job, even though Mika has some income through web-design.

Daigo and Mika’s life in Tokyo versus their life in Yamagata.

Daigo’s application for a new job as a mortuary assistant, even though he doesn’t yet know what he has taken on.

The relationship between Daigo and Mika, especially after he has lost his job.

Their relationship in a new environment.

His attachment to his cello; pressure at the same time.

Daigo felt satisfied with his job while he was working with the orchestra because it fulfilled his dream of becoming a professional cellist.

Daigo’s mother kept running her husband’s coffee shop even after he had left her and Daigo; her way of making a living.


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Extract 2


Connectedness

The opening scene shows Daigo waking up and looking for his childhood cello.

At first he has great trouble dealing with thoughts of life and death.

He dreams of his life as a young boy, and the bright city lights of his previous life soon fade away. He remembers his mother on the river at night and how someone handed him a smooth stone as glistening waters glowed in the moonlight. He reveals his bitterness towards the man who disappeared and never contacted the family again.

It is a ceremony of precise ritual and grace. Daigo starts learning lessons of life.

Dignity starts to grow within him.

He asks the young husband for his wife's favourite lipstick.

あいつ今までで一番きれ

いでした。

The dialogue with the bereaved father is completely different now that he has witnessed the job of the nokanshi. The father has been able to grieve and has found calm and peace.

The Japanese cinema reserves a special place for death; it is handled in terms of ongoing life. There is mourning, but not hopeless grief.

The mourning is channelled into ritual that provides comfort. There is no great focus on an afterlife. Attention centres on the survivors and on the meaning of the life that has just ended.

A ‘coffiner’ in Japanese society is one who prepares the departed for burial by the practical and symbolic washing of the body, as well as the application of makeup and clothing before burial. Historically, the role was assumed by a family member, but in modern times it is taken on by the NK agent. In Japanese society, this job is thought of as somehow ‘contaminated’.

The four elements play a significant role in this ritual of purification and transformation. According to Buddhist philosophy, the four elements are a basis for understanding suffering and liberating oneself from suffering. Water is the metaphor for connectedness.

The only time Daigo ever cried as a little boy after his parents split up, was when he was alone in his bath.

He stares into the waters now at daylight. He sees one dead fish float as a live fish

swims by. The fish 魚 come all this way just to die. They want to come home, back to

where they were born. 天職

だ、この仕事は.

The new boss tells him that this is his destiny and that fate has brought him back to his hometown. Everything seems to fall into place. He provides a service that has become meaningful to him.

The bereaved father apologises for his anger earlier on. There is a sense of connectedness with Sasaki san.

The old lady who runs a public bath, and her oldest customer: two lonely people with a strong but discrete sense of connectedness.


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Extract 3


Connectedness

Pressure on Daigo after Mika has told him that she is pregnant

Mika’s hope: Daigo gets a ‘normal’ job and lives a happy and ordinary life with their child.

Pressure on Mika to persuade her husband to find a ‘normal’ job for the sake of their child.

The death of the owner of the bathhouse and her son’s regrets – he kept telling his mother that she should sell the bathhouse and build apartments instead.

The owner of the public bath has been trying to keep the bathhouse even though the number of customers has decreased.

Daigo uses the skills he acquired as a mortuary assistant and takes care of the deceased bathhouse owner’s remains gracefully.

Relationships between Daigo and Mika, and their unborn child.

The owner of the public bath keeps running the bathhouse for the long-term customers, and their attachment to the bathhouse.

Relationship between the owner of the bathhouse and Hirata san.

Hirata san’s remark: ‘Death is the gate, not the end. Going through the gate and proceeding to the next …’

Daigo keeps a stone, ‘Ishibumi’ that his father gave him when he was little.

Daigo gives Mika a stone and explains what ishibumi is.

Daigo gains Mika’s respect and approval for his job when the owner of the bathhouse passes away.

Extract 4


Connectedness

Pressure on Daigo when he finds out about his father’s death.

Pressure on Uemura san to reveal her story to help Daigo.

Pressure on Mika to support her husband’s job.

Daigo’s childhood hopes and dreams versus his reality.

What pressures did the father feel?

Growth of both Daigo and Mika.

Traditions relating to death are maintained, especially in rural areas.

Traditional disdain for jobs that are considered ‘dirty’.

Rural way of life threatened by development: the bathhouse; economic development.

Hard-working lifestyle of the father.

Relationships between Daigo and Mika, Daigo and Sasaki, Uemura and Sasaki, Daigo and his father.

The child Daigo’s attachment to his absent father denied until the end when Daigo cries.

Mika’s love for and attachment to Daigo.

Daigo’s family to become three, as his family had been. Self-fulfilment in a happy family.


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Issue related links

Maintaining tradition: Urban versus rural lifestyle

Mikako’s blog: Agriculture and Yoshida brothers, Tsugaru-shamisen http://hsc.csu.edu.au/japanese/heritage/issues/traditions/4286/RT_traditions_and_values.pdf

Australian Aboriginal chef, Mark Olive: http://www.lifestylefood.com.au/chefs/markolive/

Self-fulfilment: Hopes and dreams

Being all that we want to be なりたかった「私」爆発！:

http://www.tjf.or.jp/clicknippon/en/mywayyourway/03/post-5.php

The power of attachment

「わたしの思い」:

http://hsc.csu.edu.au/japanese/heritage/issues/young/4284/RT_Young_people.pdf

Coping with change; personal growth; pressures on the individual

手紙－十五の君へアンジェラアキ:

http://www.youtube.com/watch?v=pFJ8EFzywjw

http://a20050309.exblog.jp/6357780/

http://risyon.blog6.fc2.com/blog-entry-73.html

http://ja.wikipedia.org/wiki/%E3%82%A2%E3%83%B3%E3%82%B8%E3%82%A7%E3%83%A9%E3%83%BB%E3%82%A2%E3%82%AD

Other useful links

納棺師は差別されているのか？:

http://detail.chiebukuro.yahoo.co.jp/qa/question_detail/q1323518883

銭湯: http://en.wikipedia.org/wiki/Sent%C5%8D

石文: http://www.tokuhonji.jp/sermons/2008/10/p-id38.php

おくりびとロケ地 (YouTube: http://www.youtube.com/watch?v=rjy0yBZxkyU)

http://hsc.csu.edu.au/japanese/heritage/issues/traditions/4286/RT_traditions_and_values.pdf

http://hsc.csu.edu.au/japanese/heritage/issues/traditions/4286/RT_traditions_and_values.pdf

http://www.lifestylefood.com.au/chefs/markolive/

http://www.tjf.or.jp/clicknippon/en/mywayyourway/03/post-5.php

http://hsc.csu.edu.au/japanese/heritage/issues/young/4284/RT_Young_people.pdf

http://www.youtube.com/watch?v=pFJ8EFzywjw

http://a20050309.exblog.jp/6357780/

http://risyon.blog6.fc2.com/blog-entry-73.html



http://detail.chiebukuro.yahoo.co.jp/qa/question_detail/q1323518883

http://en.wikipedia.org/wiki/Sent%C5%8D

http://www.tokuhonji.jp/sermons/2008/10/p-id38.php

http://www.youtube.com/watch?v=rjy0yBZxkyU


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Issue related reading resource

Reading resource: Mark Olive

マーク・オリーブ

マーク・オリーブさんをテレビで見たことがありますか。かれは「ザブラックオリーブ」という

名前で知られている、有ゆう

名なアボリジニーのシェフです。「ジアウトバックカフェ」というテレ

ビ番組ぐみ

が一番有ゆう

名です。

かれはウルンゴンで生まれましたが、かれはニューサウスウェールズ州、北部ほくぶ

のブンジャルン

グ (Bundjalung) 族にぞくしています。

マークさんは小さい時から、お母さんやおばさん達が料りょう

理するのを見て、料りょう

理にきょうみを

持つようになりました。さいしょは西洋料りょう

理を勉強して、劇場げきじょう

1やレストランなど、色々な場所

で働きました。メルボルンのアボリジニーレストラン、「ザフレイミングブル」のシェフでした

が、その後、シドニーで自分のレストランをけいえいしました。その時、アウトバックの材料ざいりょう

を

モダンな料りょう

理に使う、かれ独自どくじ

の2レシピを考かんが

えるようになりました。現代げんだい

の料りょう

理と、ネイティ

ブフードと文化のフュージョンをはかる3、マークさんのじょうねつ4は、かれをオーストラリアだ

けでなく、世界中せかいじゅう

で有ゆう

名にしました。

マークさんは「ザブラックオリーブ」というアボリジニーのケイタリングの会社を持っていま

す。そこでは、アボリジニーの人達が使ってきたでんとうてき材料ざいりょう

と、モダンクッキングのフュ

ージョンをはかるのはもちろんですが、アボリジニーの若者わかもの

達に料りょう

理を教えています。マーク

さんのゆめは、次つぎ

の世代せだい

5の「ブラックオリーブ」のシェフ達に、かれの知識ちしき

と技術ぎじゅつ

6をつたえ

7、かれらに将来しょうらい

のゆめをあたえる8ことです。

References

http://www.blackolive.net.au/mark-olive-bio/


http://www.blackolive.net.au/mark-olive-bio/



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Vocabulary

劇場げきじょう

theatre

独自どくじ

の unique

フュージョンをはかる to attempt a fusion of …

じょうねつ passion

次つぎ

の世代せだい

next generation

知識ちしき

と技術ぎじゅつ

knowledge and skills

つたえ (from つたえる) to teach; hand down

あたえる to give

Questions

1 Who is Mark Olive?

2 What made him internationally famous?

3 What are Mark’s dreams?

4 What is your opinion of Mark’s job? Why?


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Sample tasks

Extract 1

Question 1

Section 3, lines 1–6 （きゃー！－もう釣つ

られるなよ。）

Why does the director decide to include this scene?

どうして、監督かんとく

はこのシーンをいれたのでしょうか。

Question 2

Section 4, lines 10–12 （田舎暮らし－炊けるし。）

Imagine you are Daigo. Write a letter to Mika expressing your feelings after this conversation.

あなたは大悟です。この会話の後の気持ちをあらわす手紙をみかに書きなさい。

Question 3

‘It is important for young people to have a dream.’ Give your opinion on this statement.

「若い人にとって夢を持つことは大切だ」あなたの意見を書きなさい。

Extract 2

Question 1

Section 1, line 1 （一体－試されているんだろう。）

Why does Daigo feel this way?

なぜ、大悟はこのようにかんじているのでしょうか？

Question 2

Section 2, lines 13–14 （奥さまが - え？）

Imagine you are Naomi’s daughter. Write a thank you letter to Sasaki.

あなたはなおみさんの娘です。佐々木にお礼の手紙を書きなさい。


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Question 3

You have been asked to write an essay for your Year 12 yearbook on the topic: ‘It is important to have a sense of self-fulfilment’.

Write the text of your essay.

あなたは十二年生のイアーブックにエッセイを書くことになりました。

題は「人生の中でたっせいかんを味わうことは大切です」です。

エッセイを書きなさい。

Extract 3

Question 1

Section 2, line 10 （つまりは－やったのやの。）

Explain what Mr Hirata means by this?

このせりふで、平田さんは何を言おうとしているか、説明しなさい。

Question 2

Section 3, lines 10–12 （ありがと。－誰だれ

から聞いたの？）

You are Mika. Write in your blog how you felt today.

Your answer must reflect this extract.

あなたは美香です。この日感かん

じたことをブログに書きなさい。

Question 3

‘Thanks to technology, there isn’t any difference between country life and city life.’ Write an essay for your teacher on this topic.

次のトピックでエッセイを書きなさい。

「テクノロジーのおかげで、都会の生活といなかの生活に、違いはなくなってきまし

た」


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Extract 4

Question 1

What is the significance of the cherry blossoms in this extract?

このエクストラクトでのさくらの花のいみは何でしょう。

Question 2

Section 2, lines 12–19 （お願い－無責任むせきにん

すぎるよっ!!）

Imagine you are Uemura. You write a letter to your son. Write approximately 400 ji in Japanese.

あなたは上村です。自分の息子に手紙を書きなさい。

Question 3

Forgiveness is important in families. Give your opinion.

「家族の中ではゆるすことが大事です」。どう思いますか。


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Coping with change

The tasks in this section are from the 2009–2013 HSC Japanese Extension CD-ROM.

Task 1

新しい家族

５０～６０年くらい前までは、たいていの「家族」は、おじいさん、おばあさん、お父さん、お母

さんと子供ども

が２～３人以上の大家族が多かった。日本では、でんとうできに、お年とし

寄よ

りは一番

上の息むす

子の家族といっしょに住むしゅうかんがあった。でも、それがだんだん「1. 核かく

家族」と

いわれる両親と子供ども

１人か２人の小さい家族に変か

わっていった。そして、近ごろは、もっと

色々な、新しい形かたち

の「家族」も生まれている。

最近さいきん

、2. 離り

婚こん

がふえたために母子ぼし

家庭てい

や、父子ふし

家庭てい

もふえてきた。それから、離り

婚こん

した人

達が3. 再婚さいこん

して、お互たが

いの子供ども

達もいっしょに住むようになって、また少し大きいサイズの

家族もふえてきている。

それから、２つ、３つの核かく

家族がいっしょに一つの家に住んで、お互たが

いに助け合って、いる

「家族」がある。それに、自分の家族と住んだり老人ろうじん

ホームに住んだりしないで、友達といっし

ょに住むお年とし

寄よ

りのグループもある。しんせきではなくても、助け合って、楽しく住むことがで

きれば、これも「家族」だと言えるだろう。そして、こういう新しい家族も社会で4. 受う

け入い

れられ

るようになってきた。

Vocabulary

核かく

家族 nuclear family

離り

婚こん

divorce

再婚さいこん

する remarry

受う

け入い

れられる to be accepted

Questions

1 How has the concept of family changed in Japan?

2 Analyse the reasons behind this change in society. Is it the same in Australia?


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Writing

家族というのは、何ですか。

What is family? Write approximately 400 ji in Japanese.

Note:

以前、日本は、西洋せいよう

の国々とくらべて、離り

婚こん

が少なかったが、最近さいきん

は、離り

婚こん

がふえている。２

００４年には、新しくできた法律ほうりつ

で、離り

婚こん

する場合ばあい

、主婦しゅふ

で、会社の年金がない人も、夫おっと

の会

社からの年金の半分をもらえるようになった。

Previously, Japan’s divorce rate was not as high as in Western countries. However, recently the rate has been increasing. In 2004, a new divorce law was enacted. Housewives who do not have a company pension are entitled to have half of their husband’s company pension if they are divorced.


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Task 2

かんきょうをまもるための努ど

力りょく

: A discussion forum

地ち

球きゅう

のかんきょうは、1.第だい

二次じ

世界大戦たいせん

の後５０〜６０年間の間に、きゅうに悪くなってしまい

ました。水や空くう

気き

がきたなくなったり、木が少なくなったりしたために、自し

然ぜん

のバランスがくず

れ、2. 地ち

球きゅう

の温暖おんだん

化か

が大きい問題もんだい

になっています。自し

然ぜん

よりけいざいの方を大切せつ

にしすぎ

たことの3.当然の報むく

いでしょう。しかし、人々は、最さい

近きん

やっと少しずつ世界中のかんきょうをま

もるために4.努ど

力りょく

をし始めました。みなさんの住んでいる所では、どんな努ど

力りょく

をしています

か？

Vocabulary

第だい

二次じ

世界大戦たいせん

World War Two

地ち

球きゅう

の温暖おんだん

化か

global warming

当然の報むく

い poetic justice

努ど

力りょく

effort

ジョシュアウィルソン（オーストラリア）

水が少ないオーストラリアでは、水を５せつやくするのは、とても大切せつ

なことです。今、公立の

学校は、ほとんどみんな、雨の水を集あつ

めるタンクを持っています。その水で、６しばふや、花

に水をやるようにしています。最近さいきん

、新しくできた町には、７.下水げすい

をきれいにした後リサイクル

するシステムがあります。車を洗ったり、にわにやったりするためにその水を使います。その

システムのおかげで、その町の８水道代すいどうだい

は、ほかの町より安いそうです。

Vocabulary

せつやくする to conserve; save

しばふ lawns

下水げすい

sewerage

水道代すいどうだい

water rates


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ワンシャオルン（中国）

ガソリンや、9.天然てんねん

ガスを使わないで、トイレの下水げすい

をタンクに集あつ

めて10.メタンガスを作り、そ

れをエネルギーとして使っている町があるそうです。

Vocabulary

天然てんねん

ガス natural gas

メタンガス methane gas

秋山ひろし（日本）

ガソリンをあまり使わない11.ハイブリッドカーが多くなってきました。また、食用しょくよう

の油あぶら

は、ガソ

リンより、空気くうき

をきたなくする12.排はい

気ガスを出しません。だから、てんぷらレストランなどで使

われた食用しょくよう

の油あぶら

を集あつ

めて、車を走はし

らせるための油あぶら

に変か

える工こう

場もあります。

Vocabulary

ハイブリッドカー hybrid car

排はい

気ガス exhaust gas; emission

Question

Summarise what each country is doing for the environment.

Japan

Australia

China


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Task 3

いじめっ子達は、インターネットを使う

父兄ふけい

のみなさんのためのお知らせです。

最近さいきん

、インターネットや、携帯けいたい

電話を使った、

コンピュータ上じょう

のいじめがふえています。

今よくおこっているオンラインの問題もんだい

の例れい

マスカレーディング

他ほか

の人のパスワードをぬすんで、その人

の名前で、いやなメッセージをおくる。

フレームド

MSNのようなもので、他ほか

の人の悪口を広

める。

ほかの学生の写真しゃしん

をとって、

ウェブサイトにアップロードする。

Page 1

オーストラリアの１３０００人の

学生たちに聞いたちょうさ結果けっか

インターネットいんたーねっと

上じょう

のいじめをけいけんしたこ

とがありますか。

Page 2

新しいテクノロジーのりようは、若者わかもの

達の間で

はやっている。でも、すべての両親達はこれら

のいじめのことについて知らない。

インターネット上じょう

のいじめ問題もんだい

をなくすために：

子供ども

のへやのコンピューターを、居間いま

に

置お

こう。

何が正ただ

しいか、何がまちがっているのか、

子供ども

達に教えよう。

子供ども

と何でも話せるようにしよう。

Page 4

この新しい、いじめのし方は若わか

者もの

達にひどい

えいきょうをあたえている。

もし、学校でいじめられたら、先生に言うこと

ができるが、このネット上じょう

のいじめでは、だれ

に言えばいいのか分からないという問題もんだい

があ

る。

ふつうの学校のいじめよりも、このネット上じょう

の

いじめは、もっとひどい。

Page 3


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Vocabulary

マスカレーディング masquerading

フレームド flamed

ちょうさ結果けっか

survey result

Questions

1 For whom is this brochure intended and why?

2 Define the terms ‘masquerading’ and ‘framed’ in English.

3 Discuss the impact of this new phenomenon.

4 Outline the suggestions made to resolve this problem.

Writing

あなたは日本の姉妹校の学校の新聞のきじを書くことになりました。だいは

「新しいいじめのし方 - インターネット上じょう

のいじめ。」です。

You have been asked to write an article for your sister school newspaper in Japan. The title is ‘A new form of bullying – bullying on the Internet’. Write approximately 600 ji in Japanese.


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Task 4

れきしてきな日

2008年2月13日は、オーストラリアにとって、れきしてきな日になった。ケビン・ラッド1.首相しゅしょう

が、2.「うばわれた世せ

代だい

」のアボリジニーの人々に3.あやまったからだ。

1930年ごろから、4.政せい

府ふ

は、多くのアボリジニーの子供ども

達を、「白人と同じような生活をしな

ければならない」と言って、親から子供ども

達をとった。その子供ども

達の中には、白人の家に連れ

て行かれた子もいるが、ほとんどが、遠とお

い所にあるキリスト教の5.りょうや、政府せいふ

のりょうに住ま

なければならなかった。そして、白人の文化やしゅうかんを教えられた。アボリジニーの文化

やしゅうかんを、教えてくれるはずの家族や大人は、まわりにいなかった。その上、自分の家

族のあいの中で、しあわせにすごすこともなくなりました。

ラッド首相しゅしょう

は、そのやり方はまちがっていたと言った。そして、家族や6.共同体きょうどうたい

をこわしてし

まったことをあやまった。そして、オーストラリア人がみんな7.平等びょうどう

なパートナーになって、せ

きにんを持って新しいオーストラリアを作っていこうと言った。

もちろん、首相しゅしょう

がこのスピーチをすることを決き

めた時、それにはんたいした政せい

治じ

家か

達もいた。

ある政せい

治じ

家か

は、「あやまるひつようがない」と言った。また、ほかの政せい

治じ

家か

は、「政府せいふ

があやま

ると、色々な問題もんだい

がたくさん出てくるから、あやまらない方がいい」と言った。しかし、首相しゅしょう

のス

ピーチは、アボリジニーだけでなく、そのほかのたくさんのオーストラリア人にもかんげいされ

た。

Vocabulary

首相しゅしょう

prime minister

うばわれた世代せだい

the Stolen Generations

あやまる to apologise

政府せいふ

government

りょう dormitory

共同体きょうどうたい

community

平等びょうどう

equal; impartial

Questions

1 According to the article, why did the government take the Aboriginal children away from their families?

2 Explain what happened to the children.

3 Outline the examples given of the opposition to the apology.


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Sample speaking and writing questions

1 「今のかんきょう問題もんだい

は私達のせいだ。」あなたはどう思いますか。

The current environmental problems are our fault. What is your opinion?

2 「コミュニケーションテクノロジーの発達はったつ

によって、人間かんけいが悪くなった。

」あなたはどう思いますか。

Advances in communication technology have been detrimental to personal relationships. What is your opinion?

3 「最さい

近、人々は医い

学の発はっ

達たつ

のおかげで、長生きしている。これは大変へん

いいことだ。

」あなたはどう思いますか。

Thanks to advances in medical technology, people are living longer. This is a good thing. What is your opinion?

4 「世界はせまくなってきています。」あなたはどう思いますか。

The world is becoming ‘smaller’. What is your opinion?

5 「最さい

近の若者わかもの

は物を買うことばかりしか考かんが

えない。」あなたはどう思いますか。

Young people these days only think about buying things. What is your opinion?


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The place of traditions in modern society


Task 1

京都のおばあちゃんの話

京都に住んでいる人達にとって大切せつ

な、1.地域ちいき

のお祭まつ

り、じぞう盆ぼん

は、毎年八月にある

2.おじぞう様のお祭まつ

りです。おじぞう様というのは、子供ども

達をまもってくれる3.ほとけ様のこと

なんです。市内ない

のあちこちに、石いし

のおじぞう様が立っています。そのおじぞう様のまわりにテ

ントをはって、大人達が子供ども

達のために、遊び場を作るんです。むかしは、たくさんの子供ども

達が、そこに集あつ

まって、おかしを食べたり、色々なゲームをしたり、近所の人達や、お年とし

寄よ

りと

話したりして、一日中にぎやかだったんですけどね。このごろは、子供ども

の数かず

がとても少なくな

って、だんだんさびしくなっています。

私が住んでいる京都のまん中は、家のねだんが高くなってしまいました。だから、子供ども

がい

る若わか

い4.夫婦ふうふ

は、もっと、家が安く買える郊外こうがい

に住むようになりました。

私達年とし

寄よ

りは、じぞう盆ぼん

のじゅんびの時に5.ふだんあまり話をしない近所の主しゅ

婦ふ

と話した

り、子供ども

達といっしょに遊んだりするのがとても楽しみだったんですよ。でも今は、若わか

いお母さ

ん達は、みんな仕事がいそがしいので、じゅんびを手伝いに来られません。それに少し大き

い子供ども

は、みんな夏休みでも、じゅくに行ったりしていますよね。だから去きょ

年なんか、集あつ

まっ

ているお年とし

寄よ

りの数かず

の方が子供ども

の数かず

より多かったんですよ。本当にさびしいですねえ。

Vocabulary

地域ちいき

community

おじぞう様 guardian for children

ほとけ様 Buddha

夫婦 married couple

ふだん usually; ordinarily


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Questions

1 What is Jizoobon?

2 How is it celebrated?

3 Highlight the correct answer:

a Jizoobon is celebrated i in spring

ii in summer

b Jizoo originates from i Shintoism

ii Buddhism

c The preparations for Jizoobon are done by

i the elderly only

ii mothers and the elderly

4 What is the attraction of this celebration to elderly people?

5 Why did Obaachan say ‘ほんとにさびしいですねえ’?

6 Discuss the changes in modern society highlighted in the lady’s story. (generic question)


1 「グループの一員いん

であることは、とても大切せつ

なことだ。」あなたはどう思いますか。

It is very important to be part of a group. What is your opinion?

2 「オーストラリアに移民いみん

した人達は、自分の国の習慣しゅうかん

よりオーストラリアの習慣しゅうかん

を大切せつ

にするべきだ。」あなたはどう思いますか。

People who have immigrated to Australia should respect Australian customs more than their own customs. What is your opinion?

3 「子供ども

には、いいお手本てほん

が必要ひつよう

だ。」あなたはどう思いますか。

Children need good role models. What is your opinion?

4 「テイーンエージャーの時期じき

は一番むずかしい時じ

期き

だ。」あなたはどう思いますか。

Teenage years are the most difficult. What is your opinion?

5 「だれにでも目的もくてき

がひつようだ。」あなたはどう思いますか。

Everyone needs a goal. What is your opinion?


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Connectedness


Task 1

若者の問題

高校生は友達からとく多くのえいきょうを受う

けます。

グループの中にいることが一番大事だいじ

だと思っている生徒と

がたくさんいます。

みんなで同じかしゅやグループの音楽おんがく

を聴き

いたり、同じ場所に出かけたりします。

「友達が持っているから私もほしい」

「友達がやっているから私もやる」と考かんが

えているティーンエージャーも多い。

若者わかもの

は1こうきしんが強いので「一度いちど

だけ」と思ってドラッグを使ってみる人もいます。

中には、やりすぎてたおれて病院びょういん

にはこばれたり、死んでしまったり、やめられなくなったり

する人もいます。おさけやタバコも同じです。

体に悪いことは、みんなよく知っているのに、友達のえいきょうでタバコをすったり、おさけを

飲んだりするのが、かっこいいと思って、始めます。

最近さいきん

、「若者わかもの

のビンジ・ドリンキング」が大変たいへん

な問題もんだい

になっています。おさけを飲む2りょうを自

分でコントロールできないので、若者わかもの

が飲みすぎて病院にはこばれたとニュースでよく言って

います。

おさけもタバコも若い時から始めれば、後でやめるのが大変になります。3ちゅうどくのような

ものです。

友達の前で4かっこうをつけて、むりなうんてんをする若者も多いです。スピードを出しすぎた

り、かた手でうんてんしたりします。

またお酒を飲んだ後にうんてんして事故じこ

を起こす人もいます。車はとてもべんりですが、自

分のうんてんに責任をもたなければなりません。

このようなティーンエージャーの問題をなくすためには、友達のまねではなく、自分の考かんが

え

をきちんと持つことが大切だと思います。

Vocabulary

こうきしん curiosity

りょう amount

ちゅうどく poisoning; intoxication

かっこうをつける try to be ‘cool’


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Questions

1 若者わかもの

はどのぐらい友達からえいきょうをうけていますか。

2 「グループの中にいることが一番大事だいじ

だと思っている生徒と

がたくさんい

る。」

(line 3) という意見いけん

にさんせいしますか。

3 なぜ若者わかもの

はドラッグを使ってみるのでしょうか。

4 ドラッグを使ったら、どんなことがおこりますか。


は、けんこうに悪いと知っているのに、どうしてタバコをすったり、お

さけを

飲んだりするのでしょうか。


の問題もんだい

をなくすためにどうしたらいいと思いますか。

Writing

1 あなたは日本で一年間、留りゅう

学しています。新聞部ぶ

の一員いん

です。今度こんど

の学校新聞のき

じをかかなければなりません。だいは「若者わかもの


」です。あなたはクラスメートに話

すことにしました。その会話を書きなさい。

You are on exchange in Japan for a year. You are a member of the school’s newspaper club and have to write an article for the next issue. The title is ‘Problems faced by young people’. You have decided to talk to your classmates. Write the script of the conversation. Write approximately 600 ji in Japanese.

2 あなたは日本で一年間、留りゅう

学しています。新聞に「オーストラリアの若者わかもの


」に

ついて手紙を書くことにしました。へんしゅうぶの方へ手紙を書きなさい。

You are on exchange in Japan for a year. You are writing a formal letter to the editor of a newspaper about the problems faced by young people in Australia. Write approximately 600 ji in Japanese.


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Task 2

かおりの日記き

３月１２日 (水）はれ

今日、バスを待っている時、けんじが車で来て「かおりちゃん、町まで1.おくってあげるから

乗らない？」と言った。でも、2.ことわった。けんじは最さい

近、両親に買ってもらったハデな車

で、色々な所に行っているようだ。私は「けんじは、スピードを出しすぎるからいやだ。あんた

の車には乗りたくない。土曜日にすごいスピードではしっているのを見たよ。」と言った。そう

したら、けんじは、すごくバカな3.言い訳わけ

をした。

けんじは、土曜日に「Fast and furious Tokyo drift」っていうカッコいいえいがを見て、

4.まねをしたくなった。そして、友達が、もっとスピード出せと言うから、スピードを出さなけれ

ばならなかった、と言った。

えいがにえいきょうされたり、友達がスピードを出せって言うからスピードを出したなんて、し

んじられない！5.無む

責任せきにん

なうんてんをして、交通こうつう

事じ

故こ

をおこしたら、どうするつもりなんだろ

う。「ガールフレンドになってほしい」って言われたけど、ぜったいイヤ！けんじは、かっこい

いし、お金持ちだけど、バカで、無む

責任せきにん

なボーイフレンドは、いらない。

Vocabulary

おくってあげる give a lift

ことわった turned down

言い訳わけ

をした gave an excuse

まねをしたくなった wanted to copy

無む

責任せきにん

な irresponsible

Questions

1 What happened to the writer while she was waiting for the bus?

2 Do you agree with the writer’s comment: バカで、無む

責任せきにん

?

3 Who is carrying out the actions? a 「えいきょうされたり」

b 「言われた」


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Task 3

1世界寺てら

子こ

屋や

運動うんどう

世界には、2.まずしさや、せんそうのために、学校に行けないで、大人になってしまった人が

約やく

９億おく

人います。その人達は、読んだり書いたり、かんたんな3.計算けいさん

をしたりすることができな

いので、生活をすることが、とても大変へん

です。

「学校に行けない→勉強ができない→いい仕事ができない→お金が少ない→学校に行け

ない」というように、まずしい国には、悪いサイクルがあるので、これを変か

えなければなりませ

ん。

世せ

界かい

寺てら

子こ

屋や

運動うんどう

は、このような人達のことを知り、一人でも多くの人達が学校に行けるよう

に、募ぼ

金きん

などをする運動うんどう

です。１９９０年から始まったこの運動うんどう

によって、今までに七十万人

以上の人達が、勉強することができました。

日本でも、全国ぜんこく

で、四万人以上の小学校、中学校、高校が学校4.キャペーンをしています。

「生徒と

達が、まずしい国のことを知り、同じちきゅうに生きている友達として、あたたかい気持

ちを持つように」というのが、このキャンペーンで一番大切せつ

なことです。

Vocabulary

世界寺てら

子こ

屋や

運動うんどう

world schooling movement

(寺てら

子こ

屋や

= a temple school, an old word for school)

まずしさ poverty

計算けいさん

calculation

キャンペーン campaign

Questions

1 Identify the consequences of poverty and war according to the article.

2 Explain the poverty cycle outlined in the article.

3 In addition to helping disadvantaged people in other countries, the program aims to broaden the outlook of the Japanese students who participate. Find the Japanese phrases for:

a to know about poor countries

b as friends who live on the same Earth

c to convey a warm feeling.


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Task 4

時間

司会者しかいしゃ

：私は、みんなが1.平等びょうどう

に持っているものは、時間だと思います。みんな24時間持っ

ていますよね。それで、今日は、いそがしい高校生のみなさんが、どのように時間を使ってい

るか、話してほしいんですよ。

大川：私は、毎晩、日記にっき

を書いています。その時、次つぎ

の日に何をしなければ

ならないか、大切せつ

なことを2.順じゅん

番に書きます。そうすると、次つぎ

の日のスケジュールが分かるから安心してねられるんです。

田中：ぼくは、学校から家に帰って、すぐ、ねることにしています。2時間

ぐらいねてから夕食を食べて、シャワーをあびると、3.目がさめてよく

勉強できるんです。夜中の２時前にねたことがありません。そし

て土曜日は勉強しないことにしています。日曜日になって、

土曜日の時間を使わなかったことを4.こうかいしてもいいから、土曜

日はぜったいに遊ぶことにしているんです。そうすると、また、一週

間、がんばれますから。

黒木：みんな、すばらしいなあ。ぼくは、時間の使い方が下手だと言うより、

自分のコントロールができないんだと思います。ぼくはテレビが大好

きで、テレビを見始めるとやめられないんです。しゅくだいは、でき

るだけ学校でやったり晩ご飯の前にやったりするんですが、しけんの

前の晩も、テレビを見てしまうんです。

大川：えっ？しけんの前の日でもテレビがやめられないの？

田中：それで、しけんの日に、こうかいしないの？

黒木：うん、テレビを見ながら、明日あした

はしけんだ、勉強しなければと思うん

だけど…..。

そして、この番組ぐみ

が終わったら、勉強しようと思うんだけど…..。

でも、その番組ぐみ

が終わるころには、ねむくなってしまって…..、。

それで、明日あした

の朝、はやく、おきて勉強しようと思ってねるんだけ

ど…..。もちろん、しけんの日の朝は、こうかい5.だらけ。

司会者しかいしゃ

：それで、しけんのせいせきは？

黒木：５０点ぐらい、とってます。


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Vocabulary

平等びょうどう

に equally

順じゅん

番に in order

目がさめる to wake up

こうかいする to regret

～だらけ full of (something negative)

Questions

1 What is this article about?

2 Why can 大川 sleep without any worries?

3 How does 田中 regain and maintain his energy?

4 Describe the feelings expressed in the negative form questions asked by 大川

and 田中.

5 What do the (…) marks in 黒木’s answer indicate?

Writing

Write a short essay on the best way to use time effectively. Write approximately 600 ji in Japanese.


1 「友達は、お金では買えない大切せつ

な財産ざいさん

です。」あなたはどう思いますか。

A friend is a valuable asset that money can’t buy. What is your opinion?

2 「人間は、一人では生きて行けない。」あなたはどう思いますか。

Human beings cannot live alone. What is your opinion?

3 「１６才で運転免許うんてんめんきょ

を取るのは、早すぎる。」あなたはどう思いますか。

Sixteen years of age is too young to get a driver’s licence. Do you agree?

4 「オーストラリアの若者わかもの

にはプレッシャーがありすぎる。」あなたはどう思いますか。

Young people in Australia face too much pressure. What is your opinion?

5 「最さい

近の若者わかもの

は祖父母そぶぼ

との親した

しいかんけいがない。」あなたはどう思いますか。

Young people these days do not have a close relationship with their grandparents. What is your opinion?


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Film techniques in each extract

Extract 1

Please note that only some examples have been listed in this section. Students are encouraged to analyse each extract’s cinematography using the template found at the end of this section.

Before this extract

Beginning of the film.

The scene of the funeral where Daigo is performing the ceremony.

After this extract

Daigo visiting the NK agent for a job interview.

Lighting

After the disbanding the orchestra.

The scene of the sunset followed by Daigo sitting in his house and looking at his cello.

Ending of one phase of his life.

His broken dream.

The contrast of dream and reality.

Sound

Camera angle

The camera is looking over Mika’s shoulder. It is a high angle shot, and puts Mika in a stronger position than Daigo.

Camera shot

After the orchestra owner announced the end of the orchestra.

High angle shot, everyone scattered but Daigo is standing alone, stunned.

Setting

Daigo’s apartment and his mother’s place are quite similar in appearance. Warm colours and lighting indicate warm feelings.

Costuming and props

The setting at Sasaki’s office.

Does not look like an office. It is rather homely.

Tone, pitch, silence

Sasaki starts informing Daigo about the position.

He speaks without emotion.

He tries not to scare Daigo off.

Gesture

Sasaki starts giving the job description.

He avoids eye contact with Daigo while explaining the nature of his job.

Editing and transitions

The voiceover is used to give Daigo’s interpretation of what is happening. It makes connections between the scenes.

Recurring motifs

Water/river.

Cello.


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Extract 2

Before this extract

After only his first real day doing this work, he feels nauseous.

Daigo washes himself like someone who has a repetitive hand-washing or house-cleaning disorder.

After this extract

His wife finds out that he acted as a corpse for a funeral preparation film. She is very upset and tells him she is ashamed of him. It seems everything is falling apart.

Lighting

Perfectly framed and evocative.

Soothing, using lamp for flashback.

Clear face of little Daigo and mother but fading light for father.

Sound

Daigo, more at home with the little cello he owned as a child, turns into little Daigo playing the cello, flashback effect.

Subplots are introduced and we hardly notice.

Diegetic sound.

Rustling of silk kimono.

Camera angle

Change of focus to suggest memory and love coming back.

Camera shot

Out of focus shot.

Refusal to forgive his father.

Long shot of migrating swans symbolises change. (Daigo’s change of life: parents’ separation, job change.)

Birds are flying in the sky, feels as if the camera has been granted sudden freedom.

Setting

Modest homes in northern Japan.

A beautiful fantasy outdoor scene.

Costuming and props

Lovingly appointed to conjure feelings of comfort and cosiness.

The colours white and purple are traditional mourning colours.


Sasaki never makes speeches about the importance of his work. All is implied or demonstrated. At the end, when several plot threads come together, it happens so naturally and is so deeply satisfying.

Gesture

Little talking but exudes genuine respect for the dead.


The plot involves some developments we can see coming, but they seem natural, inevitable.

Recurring motifs

Cello.

Food.

Water: bath, river, ocean.

Death rituals are for the living.

Stone wrapped in music sheet.


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Extract 3

Before this extract

The old lady’s funeral where Daigo is in charge.

After this extract

Daigo playing his cello for Mika and the unborn baby.

Lighting Sound

Camera angle

At the Yamashita’s bathhouse.

Sasaki and Daigo standing side by side. Medium waist level shot, indicating Daigo is a professional Nokanshi like Sasaki.

Camera shot

Yamashita sitting beside his deceased mother and watching Daigo work. Medium shot. Focus shifts from on his mother’s hands to Yamashita’s face.

Setting

After Mika told Daigo that she is pregnant.

The scene where Mika asks Daigo to quit his job for their child.

The position of the table at the centre of the screen and in between Mika and Daigo: visually emphasising their different viewpoints about his job.

Costuming and props

Close up shot of Mrs Yamashita’s clothes.

Daigo puts the yellow scarf on Mrs Yamashita, making her look like the woman who is remembered by everyone, particularly Hirata san.


At the Yamashita’s bathhouse.

Sasaki and Daigo silently standing side by side.

They can work together without saying anything; they only need to look at each other for communication as two professionals working together.

Gesture

The scene of Daigo taking care of deceased Mrs Yamashita. Mika is witnessing Daigo’s work.

The body of Mrs Yamashita is in between Mika and Daigo. In a professional manner, Daigo offers Mika a cloth to wipe Mrs Yamashita’s face.

Mika accepts the cloth: her acceptance of Daigo’s profession.


Recurring motifs

Water: river.

Cello.


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Extract 4

Before this extract

It is Spring. Daigo plays a lullaby for the baby on his cello.

After this extract

The end of the film.

Lighting

Light, airy, the colours of the flowers vibrant at the beginning of the scene.

Lighting behind the taxi showing a bright day as opposed to the dullness of Daigo’s office.

Natural lighting on the father’s body from outside through the windows.

Sound

Diegetic sound of Daigo’s footsteps as he walks quickly away.

Diegetic sounds of the working harbour.

Non-diegetic sounds of the theme music while Daigo prepares his father.

Camera angle

High angle shot of Mika, enhancing her surprise when the postman asks for Daigo’s mother.

High angle shot of the office when Daigo learns that his father has died.

Camera shot

Long shot of Daigo’s house, mise-en-scene.

The line of the fence leading the eye to the sakura.

The house with the kanji 和.

Medium shot of Mika POV of the postman (over the shoulder).

Extreme close up of the telegram.

Setting

A beautiful spring day with flowers, sakura petals falling.

Costuming and props

Traditional clothing for the nokanshi (black as for Western funeral directors).

Western clothing.


Sasaki and Daigo’s conversations often have long silences … silences speak.

Voice-over narrative of father’s co-worker when Daigo and Mika arrive at the fishing village.

Gesture

Gestures by the undertakers are perfunctory.

Daigo’s gestures evoke care and remembered love when looking after his father’s body.

The giving and receiving of the stones.


Swapping between the two scenes when Mika is in the taxi.

Flashbacks.

Recurring motifs

Water: river, ocean.

The stone.


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Film techniques template for students

Name:

Cinematography extract:

Before this extract

After this extract

Lighting Sound

Camera angle Camera shot

Setting Costuming and props

Tone, pitch, silence Gesture

Editing and transitions Recurring motifs

support materials hsc 2014 japanese extension

Documents