Multimodal Presentation Script Part B: Reflection Comment on the - - PDF document

Multimodal Presentation Script

Part B: Reflection

Comment on the intention of your PART A imaginative piece, in relation to the purpose, audience and context. My work is not only a piece of imaginative writing, it is also a form of reflection and response to the personal, social, historical and cultural context of the world currently. It is designed to provide a comprehensive insight on the impact of broken familial relationships have on an individual’s psychological wellbeing. Specifically that caused from Ukraine’s reactor disaster in Chernobyl. For my piece, I have attempted to portray the effects of broken relationships though Chernobyl’s post disaster environment and mirror the depression and abandonment of those that are subjected to this. Rather than choose a middle to upper class character, I utilised a character toward the bottom of the social and economic pyramid. Ensuring the historical and social accuracy of the event was especially profound and impactful for the reader. Which intended to make the purpose of my story more fervently received by the audience. Discuss the significant motif you chose to adapt from a prescribed text. Include close textual analysis of the conceptual concerns of the prescribed text and the impact of the motif upon reader engagement in the prescribed text. For my imaginative piece, I utilised the motif of water from the prescribed text Past the

• Shallows. Within Past the Shallows, the protagonist, Miles’, perception of water reveals the

symbolic nature of water to humanities struggles and fear by representing the destructive characteristics shared between the ocean and his father. I chose to explore the determination

• f eponymous character, Miles’ to escape his damaging relationship’s through the

expression of water and surfing motifs, as it emphasised the “dark” impact his relationship had on his life. Respectively I examined Parrett’s reader engagement through her unique ability to evoke sympathetic feelings. She achieved this through accentuating the character’s emotions through the descriptive and personified landscapes in relation to the characters

• feelings. For example, “past the sandy-bottomed bays, comes the dark water – black and

cold and roaring. Rolling out the invisible paths” and “The dark water of the Lune River was moving with a silent speed that made the hairs on the back of his neck stand up”

exemplifying Miles’ fear of the water​. ​Creating a descriptive presence of the characters situation, ultimately enhancing and deepening meaning of the motif to reader. Reflect on and evaluate how you adapted the meaning of the motif to suit the context of your Part A imaginative response. Evaluate the effectiveness of your appropriation of the motif in developing a concept within your own writing. In my bildungsroman-based story, I adapted the motif of the water into my story in order to communicate the overcoming journey of the commonly shared fear of water between Miles and Tarka. I intentionally chose the motif of water as the colour of blue represented the depressive nature of my protagonist foreshadowing his self-inflicted death. I tailored the motif of water to foreshadow the characters demise to better suit the historical context of Chernobyl as the people who were exposed to the “toxic mist” and swamped by “the sea of green” laid “covered in soot and ash”. Furthermore, I purposely named my protagonist Tarka meaning “wandering as water”, amplifying the effectiveness of the symbolic verbs “swamped, drowned, flooded, drifted, trickled” alluding to the extended metaphor of water, emotively engaging the reader. Reflect on and assess the successes and challenges you faced in crafting the PART A imaginative piece. Your reflection should show how you monitored your learning, in order to overcome challenges in the writing process. During the stages of crafting my imaginative response I endured hardships in regards to constructing my imaginative piece. These hardships consisted of selecting a suitable motif to base my narrative off, brainstorming ideas that related to the motif and choosing an appropriate setting for the narrative. Originally as I began my narrative I utilised the motif confinement within the Truman Show connecting it to the historical setting of Chernobyl where the people were confined within the city by the noxious gas from the Reactor

• exploding. However as I began crafting my imaginative piece I struggled creating an

engaging story whilst incorporating the motif of confinement and the setting of the Chernobyl Disaster. In an attempt to overcome the roadblock I began brainstorming different story plots that were based off several different motifs. Through visualising the differing journeys my character endured I was able to select the most appropriate motif.

Water, and communicated the motif throughout my imaginative response in order to maximise the readers engagement.