Jeanie Baker’s
Where the Forest Meets the Sea
addresses cultural, political, social (both context and issues) and
perspective. As it is told from the
point of view of a young boy, it immediately asks the question “Why has the
author done this?” Baker could have chosen to written it in third person
narrative, however, this did not occur. In a classroom, I would ask the
children about this and perhaps raise the issue of the story being different if
it was told by a young girl or adult. Would it make a difference?
The texts central idea is that of an
environmental one. A boy and his father visit an island, which we learn as an
audience is fairly secluded. It is an ancient place and the collages show it to
be extremely beautiful. However, as the story develops, there are images of
motels and swimming pools. These are feint, but undeniably present. The text
concludes with “But will the forest still be here when we come back?” (Baker, J
1987, p. 27). In this sense, there is a strong political and social context.
The issue of the Daintree rainforest is also a social one, as it is affected
directly by humans.
Where the Forest Meets the Sea uses a simple structure and words with easily understandable sounds. There is
nothing unconventional in regards to how Baker has written the text. It is easy
to follow and designed so that children can follow along with ease. The images
help to emphasise the written text and as it is so visually rich, children can
experience everything directly. There is a strong sensory prominence. Children
are able to see what is there, what is missing and then discuss the effects
these things have on them.
Under
the strand Literacy, Sub-strand Interpreting, Analysing and Evaluating
the Australian Curriculum requires year six students to “Analyse strategies
authors use to influence readers” (ACARA, 2012). This could be achieved through
deconstruction and analysis with reference to Luke and Freebody’s model (1999,
p.8) specifically ‘breaking the code’. Hence, allowing students to determine
how the semiotic systems have come together in particular ways to create the
‘meanings’ (Bull & Anstey 2004, p.282) and portray feeling and emotions
intended by Tan. “Visual literacy is more than the
ability to decode images (to work out what images mean), it is the ability to
recognise and analyse the power of
the image and the how of its meaning
in it particular context” (Winch et al, 2010, p.601).The narrative can
be understood largely through the codes (colour, line, shape & form) within
the imagery-based text’s semiotic systems.
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