Summary Sheet for Assignment 2: Differentiated Learning Experience

Name & Student Number: Hannah Fox

Curriculum (Learning) Area of Lesson or Learning Task: English
Specific Topic of Lesson or Learning Task: Film Study – Edward Scissorhands
Year Level/s: Year 8 IGNITE

Differentiation Choices
Mark the appropriate box/es

1. For this assignment, I have chosen to design a differentiated:

 Learning Menu or Agenda
 Choice Board
 RAFT
 Summative Assessment Task for Unit of Work
 Lesson with Specific Adjustments for Students with Special Needs
 Series of Tasks for Learning Centres or Stations
 Learning Task or Lesson with Innovative Use of Technology to Support Differentiation

2. My lesson or learning task is differentiated to address differences in student:

 Readiness
 Interest
 Learning profile preferences

Context

The differentiated learning experience that has been selected for this assignment is a RAFT. The RAFT is a formative
assessment task which will occur approximately half-way through a 10-week film study on Tim Burton’s, Edward
Scissorhands. The students will have the opportunity to work independently on the task over two lessons in week 6,
and will be required to share what they have developed in small breakout groups on WebEx once they have finished.
Prior to engaging with the task, students will have already explored the themes and ideas (conformity, difference,
isolation, ostracism) featured in Edward Scissorhands, and how specific film techniques (camera angles, lighting,
framing, sounds, setting, etc.) are employed throughout to convey meaning. The RAFT is an opportunity for students
to exercise their knowledge and understanding of the film’s themes and techniques, yet also helps teachers to
determine what students might not yet understand or have misunderstood. Moreover, the task is designed to help
students develop the necessary knowledge, understanding and skills they require for their summative assessment
task. It is important for students to be able to critically analyse the key ideas and themes of the film, and evaluate how
film techniques are used to convey those ideas.

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Learning Objectives

Note: The learning objectives of this task refer to film techniques as language features because that is what ACARA
recognises them as

The Australian Curriculum states that by the end of year 8, students will be able to explain how language features,
images and vocabulary are used to represent different ideas and issues in texts (ACARA, 2020). The proposed
learning objective for this task was heavily influenced by this achievement standard, as well as the Year 8 English
content descriptors. Upon reviewing the content descriptors, it was decided that the most applicable one for the RAFT
was: Apply increasing knowledge of vocabulary, text structures and language features to understand the
content of texts (ACELY1733).

Therefore, based on the achievement standards and content descriptor presented, it was decided that the overarching
learning objective of the RAFT would be:

As a result of engaging with the differentiated learning activity, students will understand that ideas and
issues represented in films are conveyed through varying language features.

Know Be able to (do) (Skills, processes)

Ideas: conformity, difference, ostracism, acceptance
Film techniques: flashback, motif, symbolism, colour,
costume, camera angles, lighting, sounds, setting,
editing
Interpret how Burton employs various film techniques to
convey his key ideas
Deduce what effect film techniques have on representing
different ideas and issues in texts

Essential Questions (These should help students engage with the “big ideas” or understandings)

What does Burton suggest about conformity and difference? What implications do they present?

How does Burton use film techniques to explore his key ideas in Edward Scissorhands?

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 Edward Scissorhands RAFT

Purpose: This task is designed to help you apply your knowledge and understanding of
the key ideas explored in Edward Scissorhands and consider how Burton employs film
techniques to represent them. It is an opportunity for you to experiment with different film
techniques that Burton used throughout Edward Scissorhands, so be creative and have
fun!

Task Outline:
- Select one of the RAFT strips below
- Identify the idea you believe is represented in the strip to ensure your response is
accurate and appropriate
- Based on the requirements of your chosen RAFT strip, develop your response
using the task cards as your guide
- You have the option to decide how you want to present your response – be
creative!
- For those of you that like a challenge, you have the option to create your own
RAFT strip – check with Miss Fox before you start though
- Ensure you provide a Writer’s Statement that is a maximum of 100 words to
support your RAFT response
- Submit your RAFT through the Google Classroom by the proposed due date

Due: Friday, Week 5 (Term 2) Assessment Type: Formative

Role Audience Format Topic

News Reporter Citizens of Suburbia News Segment (TV A report on an

at the time of or Radio) unusual visitor who
Edward’s arrival has arrived on the
doorstep of
Suburbia

Edward Psychologist A monologue I am not complete…

Jim Policeman A witness statement Edward is a monster

and should not be
trusted!

Kim Edward Poem It’s what’s on the

inside that matters
the most

Extension: Choose your own idea from the film and develop your own RAFT strip.

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Edward Scissorhands Task Cards:

1) News Reporter:

You are a news reporter from Suburbia who has just been informed of a developing story. Avon
representative, Peg Boggs, has been spotted driving through town with an unusual-looking
visitor. After conducting a full investigation, you will present a news report for the citizens of
Suburbia, to be played either on the TV or radio (i.e. video or podcast). In your report, you will
need to address how this new visitor may affect the town. Is it acceptable for the visitor to be
different or should he have to conform to Suburbia’s rigid expectations?

You will need to incorporate two examples of film techniques that Burton employs in Edward
Scissorhands. Be sure to use our Film Techniques Glossary on Google Classroom to support
you in your response.

2) Edward:

You are Edward, and you know that you’re not ‘normal’. It seems no matter how hard you try to
fit in, you still stand out. The Boggs Family have treated you with the upmost love and
compassion, but it’s still not enough to heal the contempt you have for yourself. They have
suggested you visit the local psychologist to discuss what you are feeling, and express any
concerns you may have. During your session with the psychologist you might look to discuss:
what does it mean to be different? Why is being different considered to be a bad thing in
Suburbia?

You will need to incorporate two examples of film techniques that Burton employs in Edward
Scissorhands. Be sure to use our Film Techniques Glossary on Google Classroom to support
you in your response.

3) Jim:

You are Jim, and you have not liked Edward since the moment you met him. After learning that
your girlfriend, Kim, has befriended him, you realise you must do something to stop this
madness. You have decided to frame Edward for a crime he did not commit to turn Kim against
him, as well as the citizens of Suburbia. You will produce a witness statement (i.e. a written
statement or a video), which portrays Edward as a monster who cannot be trusted and should
ultimately be banished from the town of Suburbia!

You will need to incorporate two examples of film techniques that Burton employs in Edward
Scissorhands. Be sure to use our Film Techniques Glossary on Google Classroom to support
you in your response.

4) Kim:

After realising that you may never see Edward again, you decide to contact him one last time.
You think it is important that he knows how special he is to you, regardless of his differences.
You realise the citizens of Suburbia had not treated him fairly, even up to their last encounter
with him. You have decided to write a poem to let Edward know that you accept him for who he
is, and that it’s what’s on the inside that counts!

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You will need to incorporate two examples of film techniques that Burton employs in Edward
Scissorhands. Be sure to use our Film Techniques Glossary on Google Classroom to support
you in your response.

Edward Scissorhands Writer’s Statement:

You will need to provide a Writer’s Statement for your response. The statement should be no
longer than 100 words, and must outline:

 The strip you selected (strip 1/2/3/4 will be sufficient), and why you chose that over the
other options
 The key idea you explored in your response
 The film techniques you referenced in your response

Edward Scissorhands RAFT Rubric

Above Standard At Standard Below Standard

Knowledge and Demonstrates a deep Demonstrates a Demonstrates limited

Understanding knowledge of key general knowledge of understanding of key
ideas and film key ideas and film ideas and film
techniques techniques techniques

Interpretation of Key Insightful and Appropriate and Interpretation lacks

Ideas creative interpretation thorough consideration of key
of a key idea from the interpretation of a key ideas
text idea from the text

Interpretation of Film Interpretation Interpretation Interpretation lacks

Techniques demonstrates deep demonstrates an reference to film
knowledge and understanding of how techniques and/or
understanding of how film techniques are does not consider
film techniques are manipulated for effect how they are
manipulated for effect manipulated for effect

Language and Communication skills Demonstrates Demonstrates poor

Literacy are well-developed developing communication skills
communication skills
Register and style Little sense of
are effective and Register and style register and style
highly appropriate to are mostly appropriate to the
the task appropriate to the task
task

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Explanation:
This task was specifically differentiated for student learning profiles. Learning profiles encompass anything that
appears to ‘influence how students prefer to learn or how they seem to learn best’ (Jarvis, 2020c;Doubet & Hockett,
2017). However, it is important to note that learning preferences are not fixed, and continually change over time and
across contexts. It is understood that they are shaped by past experiences, culture, gender, personality, interests, and
other factors; thus, requiring teachers to effectively differentiate learning experiences where possible to ensure
learning is more efficient, appealing, and engaging, for students (Sousa & Tomlinson, 2018; Doubet & Hockett, 2017).
Although it may outwardly appear reasonable for teachers to categorise students based on their learning profiles;
educational theorists have highlighted significant implications associated with labelling students as particular types of
learners (Sousa & Tomlinson, 2018; Hattie & Yates, 2014). Learning profiles need to be approached in terms of
preference, as the ways in which students learn is always changing with time and context (Hattie & Yates, 2014). It is
important for teachers to be aware of these preferences, so that they can develop a range of effective approaches
and strategies to support students in their learning, and be able to distinguish when changes are necessary (Sousa &
Tomlinson, 2018). Educational theorists have outlined several key strategies for differentiating in response to student
learning profiles. This assignment focused on a strategy referred to as a RAFT, which provides teachers with an
opportunity to develop differentiated learning tasks that take into consideration student learning preferences. This
RAFT was specifically designed to help students unpack the key ideas and techniques of a text in different and
engaging ways. The options offered in the RAFT aimed to provide students with various modes of expression that
would appeal to their ways of learning. Moreover, several of Gardner’s Multiple Intelligences (visual-spatial, linguistic-
verbal, interpersonal) were taken into consideration when developing each RAFT strip to ensure students various
learning preferences would be met (Sousa & Tomlinson, 2018; Douvet & Hockett, 2017).

Furthermore, this differentiated learning task was guided by two key principles of differentiation, those being the use
of high quality curriculum with clear learning goals, and formative assessment to inform planning and teaching (Jarvis,
2020a; Jarvis, 2020b). This learning experience utilised the ‘Understanding by Design’ framework to develop clear
learning objectives for what students should understand, know and be able to do, which were then used to guide the
planning of learning activities (Wiggins, 2011). The task options featured in the RAFT were all developed based off
the same learning objectives, subsequently meaning that they could be assessed using the same rubric. The primary
focus of each task requires students to identify the key idea that is represented, and consider how film techniques are
used to convey that idea. Although each strip requires students to explore a different idea (conformity, difference,
ostracism, acceptance), it is apparent that they are still working towards the overarching learning objective of how film
techniques are used to convey meaning. For students who select the first option, they need to explore how conformity
influences the characters of the text by taking on the role of a news reporter from the town. The second option
positions students to consider the thoughts and feelings of Edward and how being ‘different’ may affect. The third
option encourages students to represent how the idea of ostracism permeates the text by taking on the role of Jim.
Lastly, the fourth option requires students to consider how the characters of the text learn to accept one another
regardless of their differences. Yet, it is important to note that regardless of the task the students choose, they must
incorporate two film techniques Burton has employed to convey those ideas. Additionally, the use of formative
assessment to inform planning and teaching is a strong component of this assignment. This RAFT was designed to
help students prepare for their summative task by providing them with learning opportunities that would work to build

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the necessary knowledge, understanding and skills they require (Jarvis, 2020b). Also, it is an effective way for the
teacher to gauge the current understanding of students in preparation for their summative task, which in turn allows
them to distinguish what still needs to be address or what the students have misunderstood.

Since the focus class for this learning task was a group of Year 8 IGNITE students, it was apparent that the task
needed to be more challenging than what is generally expected at a Year 8 English level. The students are all
recognised as gifted and talented in all subject areas (Science, Mathematics, English), thus meaning they require
additional support to ensure they remain engaged and are appropriately challenged (Tomlinson, 2014; Foreman,
2017). However, although the students are recognised as gifted and talented, it is understood that they all have
significantly varying learning preferences which need to be accommodated for. At the beginning of the unit, the
students will have completed an ‘expression of interest and learning preference’ card to provide them with an
opportunity to outline what interests them, and how they think they learn best (Doubet & Hockett, 2017). This
information is important as it allows the teacher to modify tasks appropriately to ensure students can engage with
tasks in ways which is interesting and motivating for them but also meeting their Zone of Proximal Development
(Jarvis, 2017). Moreover, although it is apparent that all students in the class are gifted and talented, it is apparent
that the readiness levels of students are still varied, thus requiring the teacher to differentiate when necessary. For
students with higher readiness levels, this RAFT allows them to create their own response using the RAFT format, or
they can mix the options provided to develop a new RAFT. Importantly, this RAFT gives students autonomy over their
learning by allowing them to select their own option based on what they feel is most comfortable or appropriate for
them (Doubet & Hockett, 2017; Sousa & Tomlinson, 2018). However, it is important for teachers to support students
through this process to ensure they are working within their Zone of Proximal Development.

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References
Australian Curriculum, Assessment and Reporting Authority (ACARA). (2020). Australian Curriculum – F-10
Curriculum – English Year 8. Sydney: Centennial Plaza. Accessed on 10 April 2020. Retrieved from:
https://www.australiancurriculum.edu.au/

Doubet, K. J., & Hockett, J. A. (2017). Differentiating in response to student interest and learning preference (Chapter
7). In, Differentiating in the elementary grades: Strategies to engage and equip all learners (pp. 253-310). Alexandria,
VA: ASCD.

Foreman, P. (2017). Introducing inclusion in education. In P. Foreman & M. Arthur-Kelly (Eds.), Inclusion in action (5th
ed., pp. 2-49). South Melbourne, Victoria: Cengage Learning Australia

Hattie, J., & Yates, G. (2014). Analysing your students' style of learning. In, Visible learning and the science of how
we learn (pp. 176-186). Abingdon, Oxon: Routledge.

Jarvis, J. (2020a). Module 2: High Quality Curriculum as The Foundation for Differentiation [PowerPoint slides].
Retrieved from: https://flo.flinders.edu.au/course/view.php?id=61905

Jarvis, J. (2020b). Module 3: Assessment to Inform Differentiation [PowerPoint slides]. Retrieved from:
https://flo.flinders.edu.au/course/view.php?id=61905

Jarvis, J. (2020c). Module 5: Differentiating in Response to Student Interest and Learning Profile [PowerPoint slides].
Retrieved from: https://flo.flinders.edu.au/course/view.php?id=61905

Jarvis, J. (2017). Supporting diverse gifted students. In. M. Hyde, L. Carpenter & S. Dole (Eds.), Diversity, inclusion
and engagement (3rd ed., 308-329). Melbourne: Oxford University Press.

Sousa, D. A. & Tomlinson, C. A. (2018). Differentiating in response to student learning profile. In, Differentiation and
the brain: How neuroscience supports the learner-friendly classroom (2nd ed., pp. 149-178). Bloomington, IN: Solution
Tree Press Inc.

Tomlinson, C. A. (2014). The differentiated classroom: Responding to the needs of all learners (2nd ed.). Alexandria,
VA: ASCD.

Wiggins, G., & McTighe, J. (2011). Essential questions and understandings. In, The Understanding by Design guide
to creating high-quality units (pp. 70-88). Alexandria, VA: ASCD.

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