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Borsheim-Black, C., Macaluso, M. & Petrone, R. (2014). Teaching Canonical Literature for Critical Literacy. This article explores Critical Literacy Pedagogy (CLP) as a framework and how it can encourage students to engage with Canonical texts on a deeper level. CLP is based on the combining two stances: Reading WITH a text and reading AGAINST a text. Borsheim-Black et, al. argue that no text is ideologically/politically neutral, and that the canon of classic texts (and furthermore, curriculum), with its power to reaffirm dominant cultural capital, should not be exempt from critical analysis. The article provides many helpful, practical examples of questions and provocations that can be used to prompt students to consider and critique how dominant ideologies/discourses are embedded in texts and how their own positionality shapes their readings. For example: “What version of the historical period does this book tell? What are other versions?” or “How do the plot and themes support or challenge normative ways of thinking about topics being portrayed?” and “Are characters from historically marginalized populations complex or stereotypical?” etc. Critical analytic skills students gain through this approach can then be transferred in considering other texts including film, advertising and other popular media in the world around them.

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Borsheim-Black, C., Macaluso, M. & Petrone, R. (2014). Teaching Canonical Literature for Critical Literacy. This article explores Critical Literacy Pedagogy (CLP) as a framework and how it can encourage students to engage with Canonical texts on a deeper level. CLP is based on the combining two stances: Reading WITH a text and reading AGAINST a text. Borsheim-Black et, al. argue that no text is ideologically/politically neutral, and that the canon of classic texts (and furthermore, curriculum), with its power to reaffirm dominant cultural capital, should not be exempt from critical analysis. The article provides many helpful, practical examples of questions and provocations that can be used to prompt students to consider and critique how dominant ideologies/discourses are embedded in texts and how their own positionality shapes their readings. For example: “What version of the historical period does this book tell? What are other versions?” or “How do the plot and themes support or challenge normative ways of thinking about topics being portrayed?” and “Are characters from historically marginalized populations complex or stereotypical?” etc. Critical analytic skills students gain through this approach can then be transferred in considering other texts including film, advertising and other popular media in the world around them.

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Macintyre, P. (2011). The Rise of the Illustrated YA Novel: Challenges to From and Ideology.

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Macintyre, P. (2011). The Rise of the Illustrated YA Novel: Challenges to From and Ideology.

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In this article Macintyre focuses primarily on the Shaun Tan novel, "Tales from Outer Suburbia" and analyses the story, told through words and images, in "No Other Country."

Two approaches are used to explain how Tan's storytelling captures the reader and presents a rich and complex story. The first approach is Foucalt's concept of 'heretopia' which Macintyre explains as a mythic and real space, or "real and unreal". In "No Other Country" the heretopia discovered by the family of protagonists is a room in the attic space of their house, that exists somewhere between all the other rooms of the house. This inner courtyard allows the family to challenge and reconfigure the Australian suburban home, within the home itself. The space is described as the families special space in the book.

The visual images reveal how the family has created a counter-society/space that is sacred to them. The inner-courtyard is displayed as a garden that changes over the course of the story to show how the garden is an escape, but also how it does not comfortable exist where it is. This is conveyed explicitly through the images, and reinforced through written text. The story is concluded by a hectic double-page illustration, full of overlapping images that bring together the traditions of high art with the subversive nature of street art. There are no borders on the pages, showing the reader that the courtyard has become the world.

The second approach Macintyre discusses is Bahktin's notion of the chronotype, or the indivisible unity of time and space created by narratives. In Tan's story the inner courtyard is the place where the spatial and temporal sequences of the story intersect. It is metaphoric and symbolic. Macintyre expands on this when she describes the gendered notion of the chronotype, and how Tan combines linear time and open outdoor spaces (male) with recurring seasons and the closed and confined spaces of home/school (female). The use of images to show the inner courtyard, allows the family in the story to connect with the, up to this point unwelcoming and different culture the family has experienced in Australian suburbia, as Tan challenges the reader to open their, 'mind, imagination and humanity' to find the inner courtyard and the magic in images not words.

Macintyre ends her article highlighting the aesthetic and break from form illustrated narratives provide students with. She discusses how these narratives promote discussion through their openness and ambiguity that cannot be conveyed as easily with words alone.

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Luke discusses critical literacy, defined as the use of technologies, print and other media to analyse, critique and transform society. Approaches include feminist, postcolonial, poststructuralist, cognitive, recognitive and other models.

Within schools, curriculum and pedagogy determine which modes of information, genres, etc are worthy of teaching. Within schools, critical literacy is politicised and used was part of social justice (redistributive as per Fraser); it is used to critique dominant ideologies, and social and political systems. Critical reading can be used to identify author bias and multiple meanings, however curriculum, and text selection constraints mean that texts don't engage with all political and cultural standpoints.

Critical pedagogies in schools therefore avoid passive reproduction of knowledge, through critical analysis of society (race, gender, class) through dialogic exchange - learners become teachers of own experiences and teachers become learners of same contexts.

There is argument for the consideration of students' understanding of genre and register in texts is needed to provide equitable access to how texts work, as part of redistributive justice. This could be achieved through a more practical approach, argued by critical linguists who argue for a focus on teaching students how words, grammar and discourse shapes socio-political worlds. Students therefore require technical resources to analyse how texts work, reflecting on their own experiences and life worlds.

Critical literacy is an ongoing continual process of naming and renaming the world, and its complex political, social and cultural conditions. Patterns are identified, allowing the possibility of reshaping the world, as is reflected in curriculum and policy, and critical literacy therefore depends upon students and teachers everyday relations of power, lived problems and struggles.

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Thiele, P. (2013). Year 9 unit: This is my story-teaching'The castle'. Idiom, 49(2), 12.

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Thiele, P. (2013). Year 9 unit: This is my story-teaching'The castle'. Idiom, 49(2), 12.

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Basically, this reading suggests the creation of a unit of work based on the film 'The Castle'. Throughout the unit the students watch the film and then analyse it from a media style perspective including
'decoding the meaning of the text, analysing the values of its characters, learning the technical language of the film and considering the representation of indigenous and non- indigenous Australians'.

Eventually students then use the Castle as a basis of creating their own text as a means of responding to the film. For example the students use the line 'this is my story' at the beginning of their own film, just as one of the characters in the film did. This fulfils the curriculum criteria of 'creating literary texts that innovate on aspects of other texts' from the  Australian curriculum.

The author suggests that the use of The Castle as a basis for students creating their own narrative is a form of 'experiential learning' as it is connects what the students learnt from the film to their own everyday lives.

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The Importance of Critical Literacy (Janks, 2012)

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The Importance of Critical Literacy (Janks, 2012)

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Janks (2012) argues the ongoing importance of critical literacy within education. Janks (2012) argues the importance of utilising critical literature in as evidence to understand discourse in a social context. It is argued throughout the text how the benefits of critical literacy can be used to consciously engage the audience in ways in which semiotic resources can be used to understand and re-position the understanding of the text. Throughout her pieces, Janks (2012) also argues the importance of using images as suggested, through the photo by Jodi Bieber of an Afghan woman whose eyes and ears were cut off as a result from running away from her husband. This photograph did appear on the Time Magazine as photo of the year however, the intention of this photograph was not to portray a victim of an abuse, but as a beautiful woman. Bieber’s image tries to argue the discourse, would this mutilation be more reprehensible if the woman had not been young and beautiful? How does this photo represent the discourse of youth and women’s beauty to make a point?

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Sommer, P. (2003). The Lingering Gaze: Looking At and In Film. English in Australia, 139, 43-50 Sommer.pdf

This reading is about the direction taken by teachers towards critical analysis of visual texts.

When questioning current teachers about teaching film in they expressed concern about how exactly to teach it. They asked questions like how to teach “strategies and filming techniques and structures” and what type of “critical” language to focus on.

The study noted that these types of questions from English teachers have been around for 20 years.

The article goes on to talk about notable discussion points for teachers to analyse in film, such as camera techniques such as using a “gaze”, and the inferences associated with such techniques.

Lastly, teachers are encouraged to use film as a text for comparison, and an opportunity to analyse social and cultural norms.