NCEA LEVEL ONE ENGLISH Visual Text Study Gallipoli

Suggested Teachi g !la

This Unit has been written FOR Year 11 in preparation for NCEA Close Study of isual Te!t"# Vie"i g o# the #il$% 1# $re%tea&hin' ( so)e ba&*'round to +orld +ar One, the &ountries en'a'ed in it and its settin', and how the Australians and New -ealanders &a)e to be in.ol.ed, would )a*e the fil) )ore rele.ant# /# Show the fil) ri'ht throu'h without interruption 0e!&ept for lesson brea*s1 # Ea&h period, it is useful to be'in with a brief su))ary fro) a student of what has been seen, and to answer any 2uestions if they arise# 3# Class dis&ussion of i))ediate responses# 0Can use the response sheet pro.ided#1 4# Co)plete a brief plot su))ary for students" personal notes and later re.ision, 0e)phasisin' that this is the only ti)e they will write this, as it is ne.er re2uired in the e!a)ination1# 5# Re.ise basi& fil) te&hni2ues and ter)inolo'y# 0Sheet pro.ided#1 Close &eadi g o# the 'il$ 1# Show the fil) a'ain, in short se&tions, for &lose readin'" of the te!t, stoppin' to dis&uss, analyse, and ta*e notes# A way to do this is to follow the &hapters" of the 6 , but &an be done arbitrarily a&&ordin' to the &lass and ti)e a.ailable# As* 7+hat is happenin' here8 9ow has it been made to happen, 'i.en that e.erythin' in fil) is deliberate8: /# Tas* sheets &an be set for indi.idual wor*( e#' ea&h 'roup )ay ha.e to analyse a different &hara&ter, or fil) shots used in different s&enes, or other aspe&ts of the fil) se2uen&e in 2uestion, whi&h &an then be shared# There is unli*ely to be ti)e to fo&us on the whole fil) in this sort of depth ; fo&us on *ey se2uen&es su&h as 0e#' 1the openin' and endin', or the offi&ers" dan&e and then the landin' in <allipoli=et&#

A(eas #o( #u(the( study) Narrati.e Stru&ture % See the >a&*'round Notes below, and ha.e students note the way the fil) is di.ided" into its narrati.e stru&ture# Settin' % See the >a&*'round Notes below, and 'i.e a histori&al and 'eo'raphi&al perspe&ti.e# Si'nifi&ant is the so&ial pressure at the ti)e to be a )an" and fi'ht for the E)pire ; and how this, ironi&ally, led to a sense of independent nationhood for the Australians and New -ealanders who felt dis&onne&ted fro) the >ritish and thrown to'ether as a national 'roup with their own &ulture" and identity# Chara&terisation % see notes )ade on Ar&hie and Fran* below ; and fo&us on other &hara&ters 0Un&le ?a&*, @es the Sto&*)an, AaBor >arton, Fran*"s friends fro) the pre%war days#1 9ow does ea&h of these &ontribute to the storyline8 +hat do the &hara&ters represent8 9ow do we *now that8 The)es % See >a&*'round Notes for details on the the)es# Start by as*in' the &lass what the idea that the fil)%)a*er has in )ind for us to thin* about )i'ht be=there are at least three si'nifi&ant ones# 0See below in >a&*'round Notes#1 The)e and Te&hni2ues % Ta*e the the)es and dis&uss the fil) te&hni2ues whi&h enhan&e the), and draw our attention and shape our )ood" or attitude# 0See below in >a&*'round Notes#1

*AC+G&O,N- NOTES
'O& TEACHING%

SETTING The social. geog(aphical a d histo(ical setti g o# the #il$ Gallipoli It will all be over by Christmas.
Australia be&a)e a nation with the si'nin' of its &onstitution at the E!hibition >uildin' in Aelbourne on 1 ?anuary 1CD1# Only a few short years later in Au'ust 1C14, after a period of 'reat tension and uphea.al in Europe, <reat >ritain de&lared war on <er)any# Unli*e today, )ost Australians felt they were )ore >ritish than Australian# >e&ause of this loyalty, the )an who was to be&o)e Australia"s ne!t $ri)e Ainister, Andrew Fisher, pro)ised that Australia will stand by to defend (Great Britain) to our last man and our last shilling# Aen rushed to Boin the lon' 2ueues at ar)y barra&*s around Australia# All had different reasons for wantin' to enlist# Aany belie.ed they had no &hoi&e but to prote&t En'land fro) in.asion# Others thou'ht it was a on&e in a lifeti)e opportunity to tra.el# And )any Bust didn"t want to )iss out on so)ethin' so e!&itin'# 7Dont worry,: they told their )others, wi.es and 'irlfriends# It will all be over by Christmas The first ships that too* the soldiers off to war were filled to o.erflowin'# Aany of the )en were fro) the &ountry and so)e had ne.er seen the o&ean before# >ut they soon be&a)e used to it, as they spent )any wee*s at sea# +hen they finally rea&hed land, )any were disappointed they were not in En'land# The <enerals had de&ided there were already too )any soldiers in the >ritish trainin' &a)ps, so the Australians were sent to E'ypt, where they finished their trainin'# The <enerals had also de&ided that these soldiers needed a na)e# They were to be *nown as the Australian and New -ealand Ar)y Corps, or AN-ACs# Tur*ey 0then &alled the Otto)an E)pire1 was on the side of <er)any in the First +orld +ar# The >ritish <enerals de&ided they &ould defeat Tur*ey if they &ould &apture the &apital &ity &alled Estanbul 0then &alled Constantinople1# After the Tur*s san* se.eral >ritish and Fren&h ships in the 6ardanelles, it was de&ided that the only way to &apture Constantinople would be to land soldiers near a pla&e &alled <allipoli# The &losest soldiers were the AN-ACs,

who had &o)pleted their trainin' in E'ypt# The Australians were 'ettin' restless, and after &o)in' all this way they wanted to see how 'ood they were in battle# They were soon to 'et their &han&e#

E/e(y 0a A Volu tee(

The e!hortations and indu&e)ents used in Australia to persuade )en to enlist were as old as the oldest so&iety% the &o))unity"s safety is at sta*eF your fa)ilies are in perilF your reli'ion is bein' derided, and so on# There was the added spur of )o&*ery, o.ert or i)plied%a &hild as*in', 7+hat did you do in the +ar, 6addy8:F a stron'%featured wo)an as*in' her )an, 7+ill you 'o or )ust E8: >y 1C15 the art of poster propa'anda was .ery well de.eloped and worldwide, and outside the porno'raphy of painted .iolen&e the the)es were )u&h the sa)e whate.er the nation# 7Our: )en were always fir)%Bawed and heroi&, 7Theirs: were fier&ely e.il and 'enerally unsha.en# The su))arily pointin' or be&*onin' fin'er was a uni.ersal sy)bol# $erhaps it was be&ause the battlefields of Europe were so distant, perhaps be&ause the lure of En'land as 79o)e: was so stron' that there entered into the early phase of re&ruit)ent in Australia an ele)ent of hu&*sterin'# Et was as thou'h a &heapBa&* tra.el a'ent was at wor* to persuade youn' )en to seiGe their &han&e# The lon' &asualty lists fro) the 6ardanelles and the disasters of Fran&e and Flanders were yet to &o)eF in the days before the end at <allipoli, there was a fair'round at)osphere about the ur'in' to Boin for The <reatest Show on Earth# To so)e e!tent it was true# Et was e!&itin'# The bands fillin' the streets with &olour and &aden&e, the sense of swa''er about the )en already in unifor) all laid the 'roundwor* for a widespread and .ery su&&essful ad.ertisin' &a)pai'n, &ertainly the best of its ti)e# The &a)pai'n"s the)e was ele)ental and al)ost irresistibleF the produ&t offered free tra.el, e!&ite)ent and a spi&e of dan'er and i)plied a Bust and ri'htful .i&tory and the rewards that would follow# To i'nore su&h a &a)pai'n &ould )ean ostra&is)F to a&&ept the &hallen'e was to snat&h at the &han&e of a lifeti)e#

Time-Life Australia Pty Ltd 1998 (from the series Australians at War)

AN-AC for&es were in.ol.ed in operations in three )ain 'eo'raphi&al areas durin' +orld +ar 1# Those areas are depi&ted on the )ap below#

The Gallipoli Ca$paig

The <allipoli &a)pai'n )ar*ed the first ti)e that Australians went into &o)bat as Australians# The ter) AN-AC" ori'inated fro) that ti)e and AN-AC 6ay, ar'uably Australia"s )ost si'nifi&ant national holiday, o&&urs annually on /5th April, the date of the start of the <allipoli &a)pai'n#

St(uctu(e o# the 'il$

<allipoli is rou'hly di.ided into three parts# The first third is set in +estern Australia in Aay 1C15 as the first news of the <allipoli landin's is published, the se&ond third is set in E'ypt where the troops are in trainin', and the final third at <allipoli H the >attle of the Ne* only o&&upies the final )inutes of the fil)# All of the parts ha.e a si)ilar settin' ; the desert, thou'h in two different parts of the world# Therefore, the ba&*drop" &olours of the fil) are predo)inantly sand and blue ; addin' to a feelin' of spa&e# &epeated Se1ue ce( First and last se2uen&e of the fil) )irror" ea&h other# >oth are fo&used Ar&hie, about to run a ra&e# Un&le ?a&*"s &hant is re&ited# There is a whistle to start the ra&e# There is the sound of Ar&hie"s fast breathin' as he runs a'ainst ti)e, and the sound of feet on the earth# Yet the first ra&e is hopeful and triu)phant, whereas the last ra&e is o)inous# The freeGe fra)e is the e!a&t opposite of the )otion of the runnin' i)a'e, and is a sho&* to the audien&e# A waste of life#

C(oss2cutti g) This is where the shots &ut between two or )ore pla&es at the sa)e &hronolo'i&al ti)e# At the end, we see Fran* tryin' to run between the 'roups of troops with )essa'es be&ause the field phones do not wor*# 9is )essa'e is .italF AaBor >arton needs to let the >ritish *now that the di.ersion is not ne&essary as the troops ha.e already safely landed, but the Co))ander reBe&ts this, and Fran* ra&es between the) a&ross the firin' line, ris*in' his life# 0Ausi& is 7O!y'ene: whi&h we asso&iate with the runnin' of ra&es#1 At the .ery sa)e ti)e we see shots 0)id and &lose up1 the Australians in their tren&h, preparin' to die ; lea.in' their weddin' rin's, and other pre&ious personal to*ens, on their personal belon'in's in the tren&h for their fa)ilies at ho)e# 0Ausi& is 7Albanoni"s Ada'io: whi&h we asso&iate with dread and i))inent dan'er#1

Snow *ept a diary, as )any soldiers did at <allipoli#

0O.er% the% shoulder shot#1

The shots fli&* between these two s&enes, and &reate a feelin' of e!tre)e tension and ur'en&y ; will Fran* )a*e it in ti)e, will the )en be told not to 'o o.er the top" in ti)e= +hen Fran* hears the whistle, as he is tryin' to rea&h AaBor >arton to tell hi) to hold it, he s&rea)s 7NooooooI: This is the )o)ent of tra'edy for hi) % he has not su&&eeded in sa.in' others ; and this hi'hli'hts the &han'e in Fran*, who used to thin* only of hi)self 0an opportunist1# Then, we &ut a'ain to Ar&hie, runnin', to his )o)ent of tra'edy# All of this &le.er editin' of the fil) &reates hu'e suspense and pressure, )u&h )ore so than if we had only seen Ar&hie preparin' for his death without Fran* tryin' to stop it# There would ha.e been a sense of dread, but not the suspense of runnin' a'ainst ti)e to stop the waste of life# This &ross% &uttin' builds up to the final terrible &li)a! of the endin'#

Cha(acte(isatio
The t"o $ai cha(acte(s a(e a co t(ast to each othe( i 3ac4g(ou d. attitude a d appea(a ce% 5et they 3eco$e 6$ates7 a d co$ple$e t each othe(% Each ta4es o so$e o# the othe(7s 1ualities a d 6g(o"s7 as a cha(acte(%
The first third of the )o.ie shows how the two &hara&ters )eet, and are drawn into the war# Ar&hieJs path ste)s fro) nai.ety# This nai.ety is shown in a .ery uni2ue way# Rather than show this nai.ety by &ontrastin' Ar&hie with a hi'hly edu&ated &hara&ter, 6ire&tor !eter "eir shows it with a &hara&ter who de)onstrates i'noran&e and )ay yet be the .oi&e of true lo'i&# The &hara&ter is an old &a)el dri.er that Ar&hie and Fran* )eet by &han&e in the Australian desert( Ar&hie1 I8$ o## to the "a( Old )an1 9hat "a(: Ar&hie1 The "a( agai st Ge($a y% Old )an1 I 4 e" a Ge($a o ce% Old )an1 Ho" did it sta(t: Fran*1 -o 8t sta(t hi$% Ar&hie1 -o 8t 4 o" exactly. 3ut it "as the Ge($a 8s #ault% Old )an1 The Aust(alia s #ighti g al(eady: Ar&hie1 5eah. i Tu(4ey Old )an1 Tu(4ey: 9hy8s that: Fran*1 As4 hi$ Ar&hie1 *ecause Tu(4ey is a Ge($a ally% Old )an1 Oh. "ell. you lea( so$ethi g e" e/e(yday% Still. ca 8t see "hat it8s got to do "ith us% Ar&hie1 I# "e do 8t stop the$ the(e. they could e d up he(e% Old )an % @oo*s o.er the Australian desert1 A d they8(e "elco$e to it%

Fran* ori'inally has no intention to enlist# This is first ob.ious the first ti)e he appears in the fil) with his three friends, who are readin' about the war
7Count me in. Come on, Frank, you gotta be in it. Frank: (Sighs) No thanks, if you blokes all want to go get yourselves shot,go ahead. Snow: Well, !m not s"ared to die for my "ountry, Frank. Frank:#ood for you, Snowy, sign yourself on. (from the film s"ri$t.)

; so he tells his friends that he will not 'o to war# >ut on &onsideration that 'irls e!press their affe&tion for the bra.e soldiers, he thin*s it )ay not be su&h a bad idea# This a'ain is a &ontrast, be&ause Ar&hie is .ery ine!perien&ed with wo)en, as one s&ene shows when the two rea&h a sheep station after their tre* to $erth, and Fran* is the sua.e sophisti&ate" who )odels how to beha.e in the &o)pany of 'irls#

Seco da(y Cha(acte(s)

Note that , cle ;ac4 <i the #i(st pa(t o# the #il$= a d 0a>o( *a(to <i the last pa(t o# the #il$= play the 6"ise(. olde( $a .7 li4e a #athe( #igu(e "ho see$s ste( . yet has a g(eat u de(sta di g o# ho" you ge( $e #eel 2 thei( hopes a d d(ea$s. a d thei( eed #o( suppo(t% *oth o# these $e gi/e A(chie so$eo e to (ega(d as a (ole $odel a d each o# the$ 63lo"s a "histle7 that $a4es A(chie (u his #astest to do his 3est #o( the$% They se(/e as a 6#oil7 to e$phasise the youth#ul ess o# A(chie a d '(a 4 a d othe( you g $e . a d each 4 o"s o# the ha(sh ess o# li#e%

%r"hie: )n"le Frank: %: F: %: F: %: F: %: F: %:

&eter 'revelyan (oined u$ last week. No more of that. *ou!re underage. + *ou ran away when you were younger. , Not to a war. -een all round the world by the time you were ./. + -arbary Coast... S$i"e slands. , made those stories u$. *ou didn!t. 0ad said you were nearly killed several times. (udged the risks and took my "han"es. War!s different. + 1ow!s it... + t!s (ust different. 'here!s no ho$e your $arents would let you go, so what!s the $oint in talking about it2 thought you might hel$ me.

A d at the o##ice(7s da ce "he '(a 4 a d A(chie 6s ea47 i p(ete di g to ha/e to deli/e( a $essage to 0a>o( *a(to . he catches the$ out a d says)
3a(or -arton: (to a soldier on duty at the dan"e) Would you mind telling 0unne that this is a dan"e for offi"ers only2 3a(or -arton: ("alling %r"hie by his false name, whi"h he sus$e"ts is not his real name, but has "hosen to let $ass) 4asalles5.... 1ave one or two drinks before you go. %r"hie: Sir5 Frank: (to %r"hie, as they hold u$ their drinks) Cheers5

*oth o# these olde( $e (ealise that the you ge( $e a(e #aci g te((i3le da ge(s "ithout (ealisi g the exte t o# "hat li#e is to p(ese t the$ "ith. a d 3(i g to ou( atte tio the the$e o# the "aste o# you g li#e? the #utility o# "a(%

The$es
A )aBor the)e of the fil) is loss of innocence and coming of age of Archie and Frank and of the A!stralian soldiers and their co!ntry.

A&tor Ael <ibson &o))ented, 7<allipoli was the birth of a nation# Et was the shatterin' of a drea) for Australia# They had banded to'ether to fi'ht the 9un and died by the thousands in a dirty little tren&h war#K The #il$ d(a"s a pa(allel 3et"ee spo(t a d "a(#a(e. with a re&ruiter for the @i'ht 9orse at the Li)berley <ift ra&e &allin' war Kthe 'reatest 'a)e of the) all#K There is irony and bitterness in this, when the a&tual endin' of the fil) is &onsidered# Another the)e rele.ant to the .isual te!t is the the$e o# "aste o# pote tial%

En the openin' s&ene of the )o.ie we see Ar&hie perfor)in' his pre%ra&e routine# 9e then pro&eeds to perfor) the 1DD yard dash whi&h he does in near%re&ord ti)e# En the final s&ene of the )o.ie we see Ar&hie in the tren&hes at <allipoli# The whistle for the) to 'o Jo.er the topJ is about to be blown and Ar&hie is lea.in' so)e senti)ental ite)s in the tren&hF a )edal and wat&h# The )edal is sy)boli& of Ar&hieJs potential, what he &ouldJ.e been in life# The wat&h is sy)boli& that ti)e has Jrun outJ for Ar&hie# 9e then perfor)s his pre% ra&e routine on&e a'ain, a dire&t lin* to the openin' s&ene, and the whistle is blown# This ne!t s&ene depi&ts Ar&hie runnin' weaponless throu'h the battlefield# This run is of &ourse )etaphori&al and is a'ain shows what Ar&hie

&ould ha.e been# Finally Ar&hie is shot and there is an M%se&ond freeGe fra)e# Et appears as thou'h Ar&hie is breastin' tape#

Another the$e i the #il$ is that o# #(ie dship#

Ar&hie and Fran* are opposite in )any ways ; one is a 7&ity boy:, and the other a &ountry boy# One is a worldly%wise fast%tal*er, the other is pra&ti&al and &apable# One is &yni&al, the other is idealisti&# One is .ain and an opportunist ris*%ta*er, who is 2uite selfish, and the other is )odest, dis&iplined and used to bein' part of a tea)# Their physi&al appearan&e has e.en been portrayed as opposite ; one is fair, the other dar*# Yet they are both talented runners, whi&h unites the)# E.entually, throu'h the shared e!perien&es that be&o)e friendship, they &o)ple)ent ea&h other# They ha.e the shared tal*" whi&h they often repeat, that friends ha.e su&h as( 7See you when E see you#: 7Not if E see you firstI: >y the end of the fil), Fran* ta*es hu'e ris*s to his own life to help sa.e Ar&hie, and Ar&hie &o)forts Fran* who is terrified ; 7Co)e onI No Tur*"s 'oin' to waste a bullet on youI: They de)onstrate how friendship 'rows e.en in the )ost unli*ely situations, throu'h shared e!perien&es and ad.ersity#
Quoted from http://www.ozcinema.com/reviews/g/gallipoli.html : Another aspect of the national myth brought to the fore is the concept of mateship. The mysterious force that bonds Australians together in times of need is ever-present in the incessant peer pressure e erted by !ran"#s friends. $isually% it is best summarised in the arduous &ourney in which Archy and !ran" embar" across a desert stretch. 'sing the (.)*:+ aspect ratio to his full advantage% ,eir created a sense of isolation between !ran"% the city-slic"er% and Archy% the country-boy. ,hile capturing the vast% desolate e panse of desert in a magnificent homage to nature% ,eir positioned Archy and !ran" at e treme opposite ends of the frame. -ver time% though% as social barriers are bro"en down% and the urgency of the situation escalates% the gap between the two closes..

Tech i1ues "hich highlight the$e)

The$es) Loss o# I oce ce a d 9aste o# Li#e?'utility% <These a(e co ected%= '(ie dship%

Sy$3olic (e#e(e ce #(o$ lite(atu(e( The ?un'le >oo* story ; su''ests the idea of )o.in' into the world of )en," whi&h Ar&hie is ready to do#

An early s&ene in the fil) depi&ts Un&le ?a&* readin' fro) #he $ungle Boo% about how Aow'li has rea&hed )anhood and now )ust lea.e the fa)ily# At the start of the fil), Un&le ?a&* reads The ?un'le >oo* to the youn'er &hildren of the fa)ily, when Ar&hy wal*s up and listens at the door# A passa'e where Aow'li rea&hes )anhood, loses his inno&en&e, and )ust lea.e the fa)ily of wol.es that raised hi) is 'i.en parti&ular pro)inen&e# Et parallels what Ar&hie is about to do, and has a sense of irony#
(From the s"ri$t of the film) 6'he fire was burning furiously at the end of the bran"h. 63owgli stru"k right and left and the wolves ran howling 6with the s$arks burning their fur. 6%t last there were only %kela, -agheera, 6and $erha$s ten wolves that had taken 3owgli!s $art. 6'hen something began to hurt 3owgli inside him 6as he!d never been hurt in his life before. 6%nd he "aught his breath and sobbed. 6%nd the tears ran down his fa"e. 6!What is it2 What is it2 ! he said. 6! do not wish to leave the (ungle, and do not know what this is. 6!%m dying, -agheera2 ! 6!No, little brother,! said -agheera. 6!'hose are only tears, su"h as men use. 6!Now, know thou art a man and a man!s "ub no longer. 6!4et them fall, 3owgli. 6!'hey are only tears.! 6So 3owgli sat and "ried as though his heart would break, 6and he!d never "ried in all his life before. 6!Now... !, he said. 6! will go to men.6!

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

Ar&hy, in parti&ular, is dri.en by the desire to pro.e that he is indeed a )an# Lnowin' that his )eta)orphosis would be &o)plete only after heJs a&&epted into the )ilitary for&e, Ar&hy sets his )ind on doin' Bust that# This the)e for)s a )otif throu'hout the pi&ture that is seen &learly when Fran* atte)pts to 'i.e Ar&hy a fa*e beard# 9is un&le, too, helps shape Ar&hyJs destiny in re'ards to his de&ision to enlist sin&e he hi)self Boined the ar)y and e!perien&ed ad.enture in forei'n lands while offi&ially under%a'e# The )otif is &ontinued in the un&leJs readin' of Liplin'Js The ?un'le >oo* in whi&h he des&ribes Aow'liJs transfor)ation into a )an#

Co t(ast( Un&le ?a&*"s )entorin', &al), worldly wise, older fi'ure, .s Ar&hie"s restless youthfulness, his hero @aSalles the sprinter, his boo*s about the world=# Co t(ast( Ar&hie"s inte'rity .s the Beerin' sto&*)an @es 0 in the first ra&e in the fil)1# Co t(ast) Ar&hie"s hu)ble, friendly attitude to winnin' the first ra&e a'ainst Fran*, .s Fran*"s arro'an&e in defeat# Co t(ast) Ar&hie"s personality and loo*s .s Fran*"s ; to hi'hli'ht their differen&es to be o.er&o)e, so that they &o)ple)ent ea&h other as they be&o)e friends# 0Friendship the)e1# Sy$3olic i$age( )o.in' away fro) ho)e, with suit&ase, on a Bourney of life% Ar&hie"s &on.ersation with Un&le ?a&* at the end of the ra&e )eetin' ; his hea.y suitcase 7full of boo*s: 0Ar&hie is the idealist, with drea)s of a bi' future, 'oin' to war1# The suitcase i)a'e is repeated as Ar&hie and Fran* &ross the desert to $erth, ea&h with his suit&ase, on a Bourney of life# Sy$3olis$) The $edal ; Ar&hie wins a )edal at the lo&al runnin' ra&e )eetin', at the start of the fil)# At the end of the fil), he ta*es it out and han's it on his *nife, *nowin' he is about to die and lea.in' it for those at ho)e 0o.ertones of Un&le Fran* here#1 The )edal e)phasises the waste of life and potential that the fil) )a*es us thin* about# 0+aste of life the)e#1 Sy$3olis$) The pro)ise of ad.enture in far%off, e!oti& lands is also indi&ated throu'hout the fil)# $erhaps the )ost )e)orable i)a'e of this is the wheelin' in of a 'iant wooden horse in order to lure people into enlistin' in the li'ht horse bri'ade# @i*e the TroBan horse fro) <ree* )ytholo'y, this K'iftK is seen as a si'n of ad.enture, wealth 0of spirit1 and the 'rand nature of war# >ehind its &onfident faNade, howe.er, is a trap# ?ust as the &ity of Troy was destroyed after its &itiGens e)bra&ed the TroBan horse, its reappearan&e in +estern Australia &an be seen as powerful foreshadow of the tra'i& fate that will )eet these )en# Enterestin'ly, thou'h, the )en are still entran&ed by the 'lory of

war as their boats slowly drifted in towards a hillside of <allipoli, lit up li*e a Christ)as tree# Sy$3olis$ used) The (epeated (u i g $oti# lin*s Ar&hie"s and Fran*"s Bourney to'ether# Et is how they )eet, and how their Bourney" ends# The spirit of the runnin' &han'esF it starts as a friendly ri.alry and 'a)e" 0at the sa)e ti)e as the war is still an ad.enture and a 'a)e" to the youn' )en1 and ends as Fran* runs to sa.e Ar&hie and the other soldiers" li.es, and as Ar&hie runs literally for his life ; to his death# Shot t(a sitio s( Shot of )ap in the newspaper after the Aow'li story ; note that Ar&hie studies one of the <allipoli area, whi&h then transitions into the sa)e )ap bein' studied by Fran*"s friend +il*es, at their railway wor*s &a)psite# This is the first lin* of the &onne&tion between Fran* and Ar&hieF it flows in a subtle way and is &oin&idental, but si'nifi&ant# Et is li*e an o)en of what their destination will be ; their &o)in' of a'e" and loss of inno&en&e# &ecu((i g 0oti#( A runnin' ra&e, set to the sa)e )usi&al the)e 7O!y'ene:, and so)eti)es pre&eded by Un&le ?a&*"s &hant# The &epeated 0oti# o# &u i g as i a (ace agai st ti$e%

A sub%te!t of the fil) is of Kwar as a 'a)eK and the two )ain &hara&ters, Ar&hy 9a)ilton 0played by Aar* @ee1 and Fran* 6unne ?udd 0Ael <ibson1, )eet at an athleti&s &arni.al# >oth are sprinters and the nu)erous runnin' se2uen&es in the fil) are set to ?ean Ai&hel ?arreJs 7&'yg(ne# This )usi& hi'hli'hts the runnin' by its rapid heart%beat rhyth), and the feelin' of e&hoin' a&ross wide open spa&e, whi&h is where )u&h of the runnin' ta*es pla&e# The openin' shot of the fil) is of Un&le ?a&* and Ar&hie trainin' for a lo&al ra&e(
)n"le %r"hie: 0ee$er. Come on, dee$er, dee$er. Come on, dee$er. Come on, dee$er, dee$er. From here, boy, here5 'hat!s it. Now, loosen u$. Come on, loosen u$. Come on, boy, loosen !em u$. 'hat!s it. Now, on the s$ot. 7ne, two5 7ne, two5 7ne, two5 + What are your legs2 , %r"hie: S$rings. Steel s$rings. + What are they going to do2 , %r"hie: 1url me down the tra"k. + 1ow fast "an you run2 , %r"hie: %s fast as a leo$ard. + 1ow fast will you run2 , %r"hie: %s fast as a leo$ard. 'hen let!s see you do it. %re you ready, leo$ard2 7n your mark5 #et set5

This is a )oti.ational cha t ; Un&le ?a&*"s 7+hat are your le's8: et&# This &hant (ecu(s later in the fil), when Ar&hie has to psy&he" hi)self up li*e an athlete about to 'o o.er the top" to his last ra&e# E##ect( This has a .ery poi'nant effe&t, as it )a*es it so &lear to the .iewer that Ar&hie is thin*in' about what he has left behind, and whi&h he senses he will ne.er see a'ain# There is pain and sadness in that )o)ent if the fil), but also hu'e &oura'e, as Ar&hie and his fellow soldiers *now they are 'oin' to their death, but fa&e it# This runnin' )otif is sy)boli& on .arious le.els #( Et represents the stren'th and .i'our of youth, o.er&o)in' obsta&les and &o)petition# Et represents a ra&e a'ainst ti)e, into the future# Runnin' into life"s &hallen'es# Et represents the 0futile1 ra&e a'ainst ti)e runnin' out and death waitin' 0in the >attle of the Ne* and, possibly, all battles that are a part of war1# 0This &onne&ts the 7loss of inno&en&e the)e with the the)e of waste of life," and futility#1

Ausi&
The )ost stri*in' feature of the soundtra&* is the use of )usi&al e!&erpts fro) ele&troni&ally synthesised &'yg(ne by Fren&h ele&troni& )usi& pioneer ?ean Ai&hel ?arre# This )usi& is set to s&enes of open spa&e and runnin' ra&es, whi&h it suits, with its fast heart%beat rhyth) and e&hoin' eery tones whi&h sound li*e wind whooshin' past ; as it would durin' runnin'# Et has the ri'ht sort of ener'y that fits with the youn' &hara&ters of Fran* and Ar&hie# Ouiet or so)bre )o)ents at <allipoli, and the &losin' &redits, feature the Adagio in G minor, by Albanoni# Et is slow, di'nified or&hestral )usi& featurin' )ainly strin'ed instru)ents, and filled with a sort of dread and 'rie.in'# Et is introdu&ed in the s&ene where the soldiers are ferried to the bea&h whi&h is to be the s&ene of battle, and also when Ar&hie .isits Snow who is ob.iously dyin' fro) his wounds# This )usi& is .ery e)otionally &har'ed, and lets us feel so)e of the fear that )ust ha.e filled the hearts of the youn' )en#

Ca)era Te&hni2ue(
The M%se&ond freeGe fra)e that si'nals the end of the fil) is sho&*in' to the audien&e in its finality, and sy)bolises youth &ut off at its pea*, as Ar&hie is seen fro) a sli'htly low an'le, ar&hed at the pea* of his stride, yet &ut down#

E##ect) There is a poi'nan&y, a sharp sadness, in this final se2uen&e, about the fa&t that on&e the youn' )en were &arefree, stron' and ad.enturous, and had their whole li.es ahead of the)# >y the end of the fil), they are fa&in' &ertain death# This waste of youn' li.es is ob.ious to the .iewer, yet we realise there is no turnin' ba&* or sa.in' the )en# There is a su''estion of the sy)boli& sa&rifi&ial &ru&ifi!ion pose in this last shot#

Lo" A gle Shots ; holdin' the &a)era Bust below the &hara&ters" eye le.el, as abo.e, 'i.in' e!tra feelin' of .astness and spa&e to the ba&*'round# The horiGon is lifted" and there see)s to be a hu'e area to &li)b"# Et uses the

(ule o# thi(ds7 where the horiGon is ne.er dire&tly in the )iddle of a shot, 0note this hardly happens in life or in fil)s1 but always one third of the way fro) the top or botto) of a shot# There are a nu)ber of stri*in' desert shots where this is done ; in the first third of the fil) when the two &ross the western desert to $erth, and in the E'ypt se2uen&e, to lin* the idea of .astness of spa&e, and the i))ense &hallen'e to be fa&ed, )etaphori&ally ; )an a'ainst the odds# Ca$e(a Tech i1ues to e ha ce setti g) 0lin*in' with the)e1 En &ontrastin' the isolated and personal ele)ents of Australia with the hard% ed'ed reality of war in Galli)oli, +eir utilised a nu)ber of &ine)ati& te&hni2ues# Aost notably, the )aBority of the Australian s&enes are shot with a ti'hter lens than those in Galli)oli, indi&atin' that on&e the )en found their way to war, they be&a)e little )ore than nu)bers H hu)an a))unition# 9e also draws .isual &o)parisons between the sparse, lifeless deserts of Australia and those of E'ypt and, in doin' so, su''ests that these )enJs stru''le is thou'htless and insi'nifi&ant in the 'reater s&he)e of thin's# The pyra)ids, K)anJs first atte)pt to beat death,K ha.e witnessed )en &o)in' and 'oin'# They stood throu'h the Napoleoni& wars and will stand throu'h the Kwar to end all wars#K There is &ontrast in these shots, of anti2uity, and the youth of the )en, li*e )illions of youn' )en who ha.e 'one before# There is irony in the fa&t that the pyra)ids sy)bolise beatin' death" and hu)anity is still not able to do this# >elow( Note low an'le ; depth that adds hei'ht to the loo)in' pyra)id#

T9O SHOTS
There are a nu)ber of shots where two heads in &lose%up or )id%shot are shown# At the start, Ar&hie and Un&le Fran* are shot fa&in' ea&h other in profile, as &lose%ups or fro) hid%shot, whi&h )irrors the &loseness of their relationship and their )utual respe&t and understandin'# They are eye%to%eye#"

The sa)e o&&urs with Ar&hie and Fran* as their relationship de.elops as friends# There are se.eral shoulder% to% shoulder shots whi&h &onne&t" the) .isually for the .iewer#

+hene.er in the fil) there is a need to introdu&e intensity 0seriousness1 either throu'h the &loseness of friendship, or of &onfli&t, note the use of close ups# +hen AaBor >arton and the >ritish Co))ander dis&uss the battle about to o&&ur in the Ne*, they are in &lose%up, but also shot fro) a low an'le to &on.ey the superior position they hold, and this )a*es the) appear dra)ati&# There is a shot at the end of the fil) when Ar&hie and Fran* stand on hi'h 'round at <allipoli and we hear the sound of )a&hine 'uns and s&rea)s# >oth of the two are )otionless a d shot as silhouettes, whi&h 'i.es the shot an eerie, disturbin' feelin'# +hen Fran* finds his )ates and .isits Snow on his deathbed, note the lo" lighti g a d close2ups whi&h add poi'nan&y 0a sharp sadness1 to the s&ene# The shots 'o between Fran* and Snow, slowly# The slo"i g of the shots adds the feelin' of dread and seriousness to this &on.ersation#