AT 1 Part 1

Unit Overview and Rationale

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The CTRL+Ad: Who’s Shaping Your Choices? unit is a Year 9/10 Media Arts sequence exploring advertising and media influence through both critical analysis and creative production. This six-lesson unit empowers students to decode persuasive media techniques and then apply their understanding by creating an advertising campaign. The unit addresses an essential question  “Who is shaping your choices?”  prompting inquiry into how media messages influence audiences. This focus aligns with the Victorian Curriculum: Media Arts aim for students to “develop their perceptual and conceptual understandings, critical reasoning and practical skills through exploring the world through the media arts”victoriancurriculum.vcaa.vic.edu.au. In a media-saturated society, critical media literacy is vital for young people’s civic and personal lives (Buckingham, 2003). Buckingham (2003) argues that true media literacy involves integrating both the interpretation and creation of media textsresearchgate.net. Thus, this unit’s design combines critical analysis of advertisements with the production of an original ad, reflecting best-practice pedagogy for holistic media education. Students learn to critically read media and also to write/produce it, fostering a deeper understanding of how ads shape values and choices (Buckingham, 2003). By engaging with contemporary advertising examples and creating their own media, learners become active, informed media users in line with curriculum goals of challenging and expressing ideas through media arts (Victorian Curriculum and Assessment Authority [VCAA], n.d.).

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Unit Structure

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The unit consists of six sequenced lessons that scaffold learning from analysis to production:

1. Decoding Persuasion: Students deconstruct real advertisements to identify persuasive techniques and underlying values.

2. ACMI Gallery Visit – “CTRL+Ad”: An excursion to the Australian Centre for the Moving Image’s CTRL+Adprogram, where students interact with exhibits about advertising influence and data in media.

3. Planning an Ad Campaign: Back in class, students brainstorm and outline their own ad campaign (product/service of their choice) with storyboards and scripts.

4. Production Workshop: A hands-on session where students film or design their advertisements, practicing camera work, editing and other media arts skills.

5. Screening and Reflection: Students showcase draft ads for peer feedback and engage in guided reflection on the messages and impact of each piece.

6. Final Celebration: A concluding screening event (inviting a wider audience or school community) to celebrate finished ads and consolidate reflections on learning.

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Each lesson builds on the previous, moving from critical inquiry to creative output and finally metacognitive reflection. This progression ensures students first grasp how media persuades, then apply that knowledge creatively, and ultimately evaluate their own and others’ work – mirroring the cycle of inquiry learning and reinforcing understanding.

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Curriculum Alignment (VCAMAE041, VCAMAM042, VCAMAM043, VCAMAP044, VCAMAR045)

This unit is tightly aligned with the Victorian Curriculum Media Arts content descriptors for Levels 9–10. In particular, it addresses:

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• VCAMAE041: “Manipulate media representations to identify and examine social and cultural values and beliefs.” In Lesson 1, students analyse how advertisements construct representations and convey values (e.g. gender roles or lifestyle ideals)victoriancurriculum.vcaa.vic.edu.au. By critically decoding persuasive media, students fulfill this descriptor’s call to interrogate social/cultural values embedded in media. The ACMI excursion further reinforces this, as museum exhibits prompt students to question who controls media messages and whose values are represented.

• VCAMAM042: “Develop and refine media production skills to integrate and shape technical and symbolic elements in images, sounds and text to represent a story, purpose, meaning and style.” Lessons 3 and 4 explicitly target this standard. In planning and workshop sessions, students learn to integrate technical elements (camera angles, lighting, editing) with symbolic elements (slogans, imagery, sound cues) to shape meaning in their adsvictoriancurriculum.vcaa.vic.edu.au. For example, they experiment with how changing color grading or music can alter an advertisement’s emotional appeal (purpose and style).

• VCAMAM043: “Plan, structure and design media artworks for a range of purposes that challenge the expectations of specific audiences.” This is achieved as students design their own ad campaigns in Lesson 3 for a chosen target audience. They must plan narrative structure, select persuasive strategies, and consider how to both meet and subvert audience expectations (for instance, creating an ad with an unexpected twist to provoke critical thinking). The unit encourages originality and even parody in student ads to challenge typical advertising tropes, directly fulfilling VCAMAM043victoriancurriculum.vcaa.vic.edu.au.

• VCAMAP044: “Plan, produce and distribute media artworks for a range of community and institutional contexts and different audiences, and consider social, ethical and regulatory issues.” In Lesson 4 and the final lessons, students produce their advertisements and consider dissemination (e.g. a social media post vs. a school assembly screening). They discuss ethical/regulatory considerations such as advertising standards, truthfulness, or use of stereotypes, which cultivates awareness of responsible media practicevictoriancurriculum.vcaa.vic.edu.au. For example, if a student’s ad targets teens, they must consider ethical issues (avoiding false claims or harmful stereotypes).

• VCAMAR045: “Analyse and evaluate how technical and symbolic elements are manipulated in media artworks to challenge representations framed by social beliefs and values in different contexts.” Lesson 5’s screening and reflection focuses on students analysing both professional ads and their peers’ projects. They evaluate how elements like imagery, sound, and text have been used to reinforce or challenge social valuesvictoriancurriculum.vcaa.vic.edu.au. Students might discuss, for instance, how one group’s ad humorously challenges gender stereotypes in toy commercials by swapping roles. Through guided peer critique and self-reflection, they practice the analytical skills of VCAMAR045, examining how media can question or uphold social norms.

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By covering these standards, the unit ensures a balance of making and responding outcomes. Students not only create media artworks but also critically respond to media in societal context, as expected by the curriculum (VCAA, n.d.). The integration of these content descriptors throughout the unit demonstrates a cohesive alignment with mandated learning outcomes and provides clear criteria for assessment.

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Teaching Approaches: Inquiry, Visual Literacy and Creative Collaboration

A variety of pedagogical approaches underpin this unit to engage learners in critical and creative media practices. Inquiry-based learning drives the unit, beginning with the provocative question of who shapes our choices. Students act as investigators – in Lesson 1 they inquire into how ads persuade, and during the ACMI visit they explore why these methods are so powerful. This inquiry approach fosters curiosity and personal connection to the topic, as students bring in examples of ads from their own media consumption to discuss. Inquiry learning is known to increase student ownership and deep understanding, especially when centered on authentic issues (Hobbs, 2010). By posing problems and encouraging students to seek answers (e.g. “What tactics make an ad convincing?”), the teacher shifts from information-deliverer to facilitator, guiding students to construct their own critical knowledge.

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Developing visual literacy is a key focus, since advertising is a highly visual medium. Visual literacy entails the ability to read and critically interpret images and multimodal texts (Callow, 2013). In this unit, students practice visual literacy by deconstructing how camera angles, colors, fonts, editing pace, and symbolism in advertisements convey messages or target emotions. They learn to “read” an image or video frame much like they would read a text, thereby enhancing their analytical precision. Strengthening these skills prepares students to be discerning consumers of media, able to decode the myriad visual messages they encounter dailyexploreinside.ngl.cengage.comexploreinside.ngl.cengage.com. Moreover, as they plan and create their own ads, students apply visual literacy in a creative context – deciding how to compose shots or design graphics to effectively communicate their intended message to an audience. This dual practice of analysing and creating visuals builds higher-order thinking, as students must understand and then implement persuasive techniques. Research affirms that such an active, multimodal approach can increase engagement and comprehension (McGinley, 2024). By learning to both critically interpret and purposefully design visual content, students experience the full spectrum of media arts literacy (Buckingham, 2003).

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Collaborative and peer-supported learning strategies like peer feedback are woven throughout the unit to enhance creative development. From the planning stage onward, students frequently share ideas and drafts with classmates for constructive critique. For example, in Lesson 3 students might pitch their ad concept to a peer group and gain feedback on its clarity or appeal, which they then use to refine their storyboards. Similarly, Lesson 5’s peer review session during the screening allows students to exchange feedback on each other’s nearly finished ads. This practice of peer critique not only improves the quality of the creative products (as multiple perspectives lead to revisions) but also builds communication and evaluation skills in students. It cultivates a classroom culture where students learn to give and receive feedback respectfully, mirroring professional media production environments where critique is essential. Educational research highlights that peer feedback can deepen students’ critical thinking and sense of audience, as they learn to view their work through others’ eyes (Nicol, 2010). Furthermore, discussing each other’s media works helps students articulate their understanding of media concepts verbally – reinforcing their learning in a social, active manner (Vygotsky, 1978). By the end of the unit, learners have engaged in a cycle of plan – create – critique – refine, which is a scaffolded approach to creative production. Each step is supported by teacher input or resources (e.g. exemplars of advertising storyboards, mini-lessons on camera techniques, guided reflection questions), ensuring students are not left adrift in the creative process but are progressively building competence and confidence.

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Inclusive Practices and Differentiation

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Inclusivity is a cornerstone of the unit design, so that diverse learners – including EAL (English as an Additional Language) students, high-ability students, and neurodiverse learners  are all engaged and supported. In alignment with differentiated instruction principles (Tomlinson, 2014), the unit provides multiple entry points and ways to succeed.

Scaffolded learning is especially beneficial for EAL and other students who need language support. The unit emphasizes learning through visuals and practical activity, which reduces reliance on dense text and allows EAL students to participate using visual and media skills. In Lesson 1, for instance, instead of only discussing persuasive language abstractly, students watch actual commercials and use a visual organizer (e.g. an analysis table with symbols/pictures for elements like camera, color, slogan) to record their observations. Key vocabulary (such as “target audience,” “branding,” “stereotype”) is pre taught with simple definitions and images to ensure EAL learners grasp core concepts. During the planning of their own ads, EAL students can sketch storyboards or act out scenes as an alternative to extensive writing, demonstrating understanding in non-verbal ways. These strategies align with Gibbons’ (2015) recommendation to scaffold language through contextual support and multimodal activities for EAL learners. Teachers also allow bilingual brainstorming or research when appropriate (e.g. a student might research a concept in their first language then share in English), validating linguistic diversity.

High-ability students are challenged through open-ended creative tasks and opportunities for leadership. Because the ad campaign project allows significant choice (students pick their topic, style, and approach), high-achieving learners can push the boundaries of the brief – for example, by employing advanced editing effects or subtle satire in their message to add complexity. Extension is built in by encouraging these students to delve deeper into critical perspectives (they might examine the ethics of advertising or media theories in their reflection) or to take on mentoring roles during group work (such as leading a production team or doing additional research to inform the class). Such strategies ensure high-ability learners remain engaged and are able to extend their skills (VanTassel-Baska & Brown, 2007).

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For neurodiverse learners, including students on the autism spectrum or with ADHD, the unit employs structured, clear routines and sensory considerations. Each lesson follows a predictable structure (e.g. an introduction outlining objectives, a hands-on activity, a debrief/reflection), which helps reduce anxiety for those who thrive on routine. Visual schedules and checklists are provided, so students can independently track each step of their project – this supports executive functioning for learners who need help with organization. The practical nature of the unit allows neurodiverse students to engage kinesthetically and visually; for instance, a student who finds written tasks challenging might excel when handling camera equipment or editing software. Flexible grouping is used so students can contribute according to their strengths: one student might prefer to handle technical editing while another writes the script or performs in the ad. This multiple means of engagement and expression follows Universal Design for Learning principles (CAST, 2018), ensuring that no single mode of participation is required for success. Additionally, the teacher is mindful of sensory needs during the excursion (providing noise-cancelling headphones if needed in the interactive gallery, and clear instructions about the excursion environment ahead of time, possibly using a social story). By proactively planning for student variability, the unit creates an inclusive environment where every student can participate meaningfully in both the analytical discussions and creative production. Differentiation is not an afterthought but embedded in task design – from offering template storyboards for those who need more guidance to encouraging alternative media formats (video, animation, poster, etc.) depending on student strengths. This inclusive approach reflects a commitment to equity and the notion that diverse perspectives enrich the learning in media arts (Florian & Black-Hawkins, 2011).

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Assessment Strategy: Formative and Summative

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Assessment in the CTRL+Ad unit is integrated as an ongoing, formative process as well as a summative evaluation of final products and reflections. Formative assessment is used throughout to guide learning and provide feedback without high stakes. In Lesson 1, for example, students complete an advertisement analysis worksheet; the teacher reviews these to gauge understanding of persuasive techniques and provides timely feedback or clarification in the next lesson. Likewise, students’ storyboards in Lesson 3 serve as a formative checkpoint: by examining these planning documents, the teacher can assess how well students can conceptualize an ad structure and use media elements intentionally. The teacher offers individualized feedback on each storyboard (notes on how to enhance the message or technical suggestions) before students proceed to production. This scaffolded formative feedback loop ensures students refine their ideas and learn from mistakes in a low-risk context (Black & Wiliam, 1998). Peer feedback sessions, as described earlier, are another form of formative assessment – peers use a structured checklist to review each other’s draft ads during the screening lesson, giving input on strengths and areas to improve. This not only benefits the creator (who gains new insights) but also the peer reviewer, who practices critical evaluation against criteria. All these formative assessments directly inform students’ next steps and the teacher’s guidance (for instance, if many struggle with audio quality in their drafts, the teacher might re-teach a mini-lesson on sound recording techniques).

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The summative assessment components include both the final advertising product and a written or oral reflection on learning. The culminating advertisement (e.g. a short video commercial or digital poster campaign) is assessed against clear criteria derived from the curriculum standards – such as creative use of media codes/conventions (VCAMAM042/043), effectiveness in communicating an intended message to an audience (VCAMAP044), and evidence of challenging or reinforcing values thoughtfully (VCAMAE041). Students submit a production portfolio comprising their final ad and supporting documents (storyboard, script, production journal) as part of the summative task. This allows the teacher to see the process as well as the product, acknowledging effort and growth. The reflective component asks students to evaluate their own and others’ ads critically (linking to VCAMAR045). In this reflection, students might respond to prompts like: “How does your advertisement attempt to influence the audience, and how did you apply techniques learned in class?” and “What challenges did you face in production, and what would you improve next time?” The reflection is assessed for insight and understanding of key concepts (not English fluency, for fairness to EAL students), giving students an opportunity to articulate their learning in relation to the unit’s driving question. Together, the ad and reflection provide a balanced summative assessment of practical skills, creativity, and critical thinking.

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Assessment moderation is considered to ensure reliability: common rubrics are used if multiple classes are involved, and student work is benchmarked to examples at different achievement levels (perhaps referencing the Victorian Curriculum achievement standards). Importantly, the assessment design reflects the authentic nature of the task – rather than a traditional test, students are evaluated on real-world media production and analysis skills, which is motivating and meaningful. The final celebration screening is not only a showcase but also part of assessment as students must present their work to an audience, adding a real audience context to the summative task (which addresses VCAMAP044’s “distribute for different audiences”). Overall, the combination of formative and summative assessments in this unit provides a comprehensive picture of student learning while actively supporting improvement and reflection.

Rationale for ACMI “CTRL+Ad” Gallery Excursion

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A highlight of this unit is the excursion to ACMI (Australian Centre for the Moving Image) to participate in the CTRL+Ad: Who’s Shaping Your Choices? gallery program. This excursion is deliberately included as a pedagogical strategy to enhance engagement, provide expert insight, and ground the unit’s inquiry in real-world contexts. Museum-based learning experiences like this have proven educational benefits: culturally enriching field trips can strengthen students’ critical-thinking skills and broaden their horizonseducationnext.org. At ACMI, students step out of the traditional classroom and immerse themselves in interactive exhibits that illuminate how advertising works in the real world of screen media. The CTRL+Ad program is designed by media education specialists at ACMI to provoke critical thinking about advertising – for example, students might explore how algorithms target ads to consumers, or compare historical and contemporary adverts to see how persuasive tactics have evolved. This directly reinforces classroom learning by providing tangible examples and hands-on interactives that make abstract concepts concrete. Many students, especially those who are visual or tactile learners, benefit from seeing and touching the artifacts of media (such as old marketing posters, filming equipment, or digital screens demonstrating personalization of ads) rather than only discussing them.

The excursion also serves as an engagement and equity booster. For some learners who struggle with purely text-based learning, the multi-sensory experience at ACMI can ignite interest and understanding in ways a lecture cannot. It caters to diverse learning preferences – auditory learners engage in guided discussions with ACMI educators, visual learners analyze the rich imagery in the gallery, and kinesthetic learners interact with displays. EAL students benefit from the visual context and real examples, which help bridge language gaps. Moreover, visiting ACMI exposes all students to the creative industries and potential career pathways in media, fulfilling a broader educational aim of inspiring future possibilities (VCAA, n.d., Rationale). Students see a prestigious cultural institution valuing media arts, which can validate their classroom efforts and perhaps spark aspiration in those with talent in media production.

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From a curriculum standpoint, the gallery visit is not an add-on but an integral part of meeting standards. The Victorian Curriculum encourages exploring media artworks in community and institutional contexts and from different times and placesvictoriancurriculum.vcaa.vic.edu.au. At ACMI, students encounter a range of media artefacts (possibly including Australian advertising campaigns, global examples, even representations of First Nations media if included), aligning with content like VCAMAR045’s call to analyse media in various contexts. The excursion also enables students to practice the skill of being an audience in a critical way, as they are essentially analysing a curated set of media works in a museum setting. They can later draw on this experience in their reflections and in how they shape their own ads (inspired by or reacting against things they saw).

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Logistically, the excursion is carefully planned for inclusivity and maximum learning. Pre-visit activities prepare students by introducing what they will see at ACMI and formulating inquiry questions to investigate there (“Which techniques seem most effective across different eras of ads?”). During the visit, students carry a simple scavenger hunt worksheet to jot down insights or sketch interesting advertisements, keeping them focused. Post-visit, a debrief discussion ties the experience back to the unit’s themes – students share something surprising they learned at ACMI and how it influences their approach to creating their own ad. This reflection helps consolidate the excursion learning rather than leaving it as an isolated event. The excitement of a field trip also contributes to class morale and memory; students are likely to remember the unit by this signature experience, and research suggests such memories can reinforce content understanding (DeWitt & Storksdieck, 2008). Ultimately, the ACMI CTRL+Ad excursion is justified not only as a means to engage students, but as a critical component of the pedagogical design: it enriches the inquiry, provides real-world connection, and exemplifies the fusion of education and industry expertise to deepen student learning in Media Arts.

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Conclusion

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In summary, CTRL+Ad: Who’s Shaping Your Choices? is a thoughtfully designed Media Arts unit that marries critical analysis of advertising with creative production, in alignment with Victorian Curriculum standards VCAMAE041, VCAMAM042–043, VCAMAP044 and VCAMAR045. Grounded in contemporary pedagogical theory and best practices, the unit employs inquiry learning, visual literacy development, and collaborative creativity to engage a diverse range of learners. Inclusive strategies ensure all students – regardless of language proficiency, ability, or learning style – can participate meaningfully and achieve success. Through scaffolded formative assessments, students build skills and understanding step by step, culminating in a summative project that is authentic and reflective. The inclusion of an ACMI gallery excursion further enhances the unit by providing an immersive real-world learning context that reinforces and extends classroom content. By the end of the unit, students not only have created their own advertisement, but they have also become more critical and savvy consumers of media. This dual outcome of creativity and criticality exemplifies the rationale of the Media Arts curriculum: to foster students’ creative and intellectual potential and enable them to navigate and contribute to our media-rich world as informed, reflective citizens (VCAA, n.d.)victoriancurriculum.vcaa.vic.edu.auvictoriancurriculum.vcaa.vic.edu.au. The pedagogical choices in CTRL+Ad are thus purposefully made to cultivate empowered learners who understand media influence and can actively shape their own messages in response.

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