Lost Thing

Product Information

Colours: notably, the juxtaposition between the grey bleakness of Shaun’s world and the utopian sanctuary can emphasise certain qualities of each place. a b c d e f g h Haber, Karen (December 2001). "Shaun Tan: Out of Context". Locus (12) . Retrieved 25 July 2007.

Un ragazzo occhialuto e spettinato nota una strana creatura sulla spiaggia. Una cosa strana, una specie di teiera con i tentacoli. Sembra spaesata, o forse solamente abbandonata. E si lascia avvicinare senza timore dal ragazzo che decide di cercarne il proprietario.Artist and author Shaun Tan creates semi-mechanical and animalesque beings that seem born of both the natural world and industrious humans. Whimsical, cerebral, socially aware, grotesque and cuddly, Tan's artistic universe runs the emotional gamut. A fruitful discussion can be facilitated around possible reasons for the decision to change Pete’s character in this way. Tan continued his education at the University of Western Australia where he studied Fine Arts, English Literature and History. While this was of interest to him, there was little practical work involved. [8] In 1995, he graduated with a Bachelor of Arts. [9] Work process [ edit ] In asking questions of the book, the reader is inevitably asking questions about their own experience in seeking individual closure. What aspects of it are familiar, and why? What does it remind you of, or make you think about? This is a picture book that works through such resonance rather than recognition, or any didactic imperative; ideas and feelings are evoked rather than explained.

When his parents notice it, Shaun’s mother reacts like most do: “Its feet are filthy!” she shrieks. His father is equally negative: it has to go. The Lost Thing is hidden in the shed, but Shaun knows that’s not a permanent solution, so he tries his best to do the right thing. He encounters bureaucratic indifference in the city (Downtown, 6328th Street, Tall Grey Building #357b) but also helpful advice, and hopes he has ultimately helped The Lost Thing to a good destination. Organise the children in small groups (4 usually works well). Share notes. Encourage attentive listening while everyone has their turn. Year 7: (ACELA1782) (ACELA1763) (ACELA1764) (ACELT1621) (ACELT1620) (ACELT1622) (ACELT1803) (ACELY1723) (ACELY1722) (ACELY1724) (EN4-1A) (EN4-3B) (EN4-4B) (EN4-2A) (EN4-5C) Year 7: (ACELA1782) (ACELA1763) (ACELT1619) (ACELT1620) (ACELT1803) (ACELY1804) (ACELY1722) (ACELY1724) (EN4-1A) (EN4-3B) (EN4-8D) (EN4-2A) (EN4-5C) (EN4-6C) Shaun began drawing and painting images for science fiction and horror stories in small-press magazines as a teenager, and has since become best known for illustrated books that deal with social, political and historical subjects through surreal, dream-like imagery. Books such as The Rabbits, The Red Tree, The Lost Thing and the acclaimed wordless novel The Arrival have been widely translated throughout Europe, Asia and South America, and enjoyed by readers of all ages. Shaun has also worked as a theatre designer, and worked as a concept artist for the films Horton Hears a Who and Pixar’s WALL–E. He is currently directing a short film with Passion Pictures Australia; his latest book is Rules of Summer (October 2013).

Give AI a Try!

When the book is the central focus, the film allows students to consider the affordances offered by the printed version in comparison to the film adaptation. In other words, what does each mode allow (or disallow) in terms of storytelling and reader/viewer interactions? The Lost Thing received an Honourable Mention at the Bologna International Book Fair, Italy and an honourable mention at the CBCA Awards. In 2020, The Lost Thing won the Phoenix Award in the US, given twenty years later to a book that did not win a major award at the time of publication. Original illustrations from the book have been exhibited at the Itabashi Art Museum in Tokyo and eslewhere in Japan, Germany, Sweden and the UK.