English Year 11 to 12 Notes
English Summary Notes
The selection of celtic voices and instruments interspersed with the folk ballads, and fusion of videoclip style song interludes, together with female harmonies (lilting of the Hannan sisters), camera speed, angles and tilt effects, and recurring symbolism shaped our understanding of Perkins’ creative voice as her ateur is itself a distinctive voice.
Interior elements of her filmic narrative that create conflict and ongoing tension and these give rise to complex cultural, spiritual and gender voices within the text.
“In Rachel Perkins Musical Drama One Night The Moon (2001), the composers voice may be described as a unique fusion, cultural instruments, diegetic and nondiegetic sound, music and image as an articulation of cultural difference, historical antipathies, gender differences and spirituality as expressed through the mysteries of the land and the orthodoxy of Christian belief to evoke an understanding of the relationship between Indigenous of the relationship and NonIndigenous Australians.”
Interior distinctive voices should be seen as different types of voices that serve different functions and that are distinctive in that they give greater meaning to her purpose of exploring that ‘space between black and white’, between men and women and between different notions of knowing and seeing. The function is to articulate to develop her voice.
“Therefore the voices within the text serve to examine Perkins’ interest nit the cultural differences between Aboriginal and nonAboriginal people, the suppression of the natural spirituality of women, the unspoken fear felt, preeminence, the failure of men to understand the land and the optimism of generation hope.”
The composer’s voice is integrating the musical and the visual aspects so they become a new process for an audience to encounter.
One Night the Moon is a film based on events that took place in 1932, about a young girl who goes missing on the
The selection of celtic voices and instruments interspersed with the folk ballads, and fusion of videoclip style song interludes, together with female harmonies (lilting of the Hannan sisters), camera speed, angles and tilt effects, and recurring symbolism shaped our understanding of Perkins’ creative voice as her ateur is itself a distinctive voice.
Interior elements of her filmic narrative that create conflict and ongoing tension and these give rise to complex cultural, spiritual and gender voices within the text.
“In Rachel Perkins Musical Drama One Night The Moon (2001), the composers voice may be described as a unique fusion, cultural instruments, diegetic and nondiegetic sound, music and image as an articulation of cultural difference, historical antipathies, gender differences and spirituality as expressed through the mysteries of the land and the orthodoxy of Christian belief to evoke an understanding of the relationship between Indigenous of the relationship and NonIndigenous Australians.”
Interior distinctive voices should be seen as different types of voices that serve different functions and that are distinctive in that they give greater meaning to her purpose of exploring that ‘space between black and white’, between men and women and between different notions of knowing and seeing. The function is to articulate to develop her voice.
“Therefore the voices within the text serve to examine Perkins’ interest nit the cultural differences between Aboriginal and nonAboriginal people, the suppression of the natural spirituality of women, the unspoken fear felt, preeminence, the failure of men to understand the land and the optimism of generation hope.”
The composer’s voice is integrating the musical and the visual aspects so they become a new process for an audience to encounter.
One Night the Moon is a film based on events that took place in 1932, about a young girl who goes missing on the